CHERYL PAGUREK

CHERYL PAGUREK

For many years, home and family life have been central themes of Cheryl Pagurek's photo-based and video works, situated within a broader framework of social, historical, commercial and political contexts. The works assemble diverse, contrasting elements into a dynamic whole where they coexist and play off each other. Interweaving apparent oppositions, the works are the site of both interconnections and tension within such dualities as public/private, past/present, creation/destruction, surface/depth, representation/abstraction, and reality/constructedness. Pagurek has used many approaches and media to bring together these simultaneous yet disparate concepts, and to probe and disrupt our usual expectations of photography. These have included physically shaping photographs, removing cut-out shapes from photographic images, pairing photographs in double-sided works, digitally combining and constructing photographic images and digitally manipulating video. Recent works record her own observations of everyday phenomena in photography and video, and combine them with found imagery and footage, such as old family photographs and movies, archival films, and contemporary military tracking footage, to create multi-layered amalgams of multiple spaces, times, narratives, and perspectives.

Several series of work investigate the interrelated concepts of time, memory and history. These works are elusive in that they offer glimpses of time and place, but because of missing visual information, they frustrate our desire for a complete, captured moment. Relationships of presence/absence, already intrinsic to photography in the framing of the subject (what is included and what is left out) and in photography's indexical nature (the subject matter was previously - but is no longer - present in front of the camera) are highlighted. The ephemeral quality of many of her works in video evokes the ‘present-ness’ of the disappearing past. These videos contemplate her present experience in relation to familial history.

In new works from 2008-2009, the video Growing Pains and the large-scale photographic series High Value Targets, Pagurek explores a new strategy and focus. Instead of merging oppositions together into one piece, the new work explores more complex structures of interrelations across a diptych format in the prints, and across dual channels in the video.

Cheryl Pagurek is a photo-based and video artist living in Ottawa, Ontario. She received an M.F.A. from the University of Victoria (1992) and a Bachelor of Fine Arts from Queen’s University, Kingston, Ontario (1990). Since then her work has been shown extensively in galleries across Canada from Victoria to St. John’s, as well as in a project for Prefix Photo magazine (2004). Some of her recent exhibitions and screenings have been in Ottawa, Toronto, Kingston, Montreal and Chicago. Her video installation Flow was shown in 2009 in Montreal as part of Le Mois de la Photo and at Mount Saint Vincent University Art Gallery in Halifax in 2010. She launched a new body of work, the video Growing Pains and photographic series High Value Targets, at Patrick Mikhail Gallery in 2010. Her work is in several collections including Foreign Affairs Canada, the Canada Council Art Bank, the Library of the National Gallery of Canada, the Ottawa Art Gallery and the City of Ottawa. She has received grants from the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts. In 2010 she was awarded a public art commission by the City of Ottawa, which will be installed at Market Place Transit station in March 2011.

GROWING PAINS
Growing Pains is a two-channel video exploration of simultaneous micro and macro perspectives combining the opposite extremes of intimate recordings of a season of gardening, with contemporary military tracking footage. Cultivating a garden is portrayed as an act of optimism and hope, an attempt to balance chaos and order on a small, domestic scale. Set against this endeavor in the private realm, the aerial and night vision footage of “engagement” with military targets infiltrates our consciousness with a pervasive sense of dread and threat of large scale public destruction. An additional layer of dialogue suggests a negotiation between private and public worlds, as we hear a family navigating the children’s increased independence, their ventures away from the safety of home and their increasing exploration of the world at large on their own. The lushly coloured gardening footage is immersive and sensual. In comparison, the monochromatic wide-angle military footage marked with viewfinder target crosshairs feels like a symbolic assault. Recorded through a mediating veil of technology and navigational data, the military footage epitomizes the relationships of knowledge and power implicit in the act of photography and points to the intertwining of photography and war.

This multiplicity of perspectives is presented in two separate but side-by-side video channels, thereby accentuating the tensions within the dualities of public/private, microcosm/macrocosm, creation/destruction, hope/fear, and participant/observer. Yet, despite these contrasts, a shared concern for control and surveillance plays out across all the layers of the work, from the military to the garden to the familial. Further relationships between the two channels are conveyed by transposing conventions of the military footage onto the garden imagery. Targets, navigational data, night vision, and censor markings are overlaid onto the garden footage as distancing mechanisms, implying the act of surveillance. Corresponding camera movements and angles often occur in both channels – a searching aerial zoom or pan in a military clip is matched with an equivalent camera movement in the garden. Exploring ideas of security and vulnerability, the work opens up a space to contemplate the myriad ways in which we as individuals might feel under siege in today’s world.

HIGH VALUE TARGET
The High Value Targets photographic series further explores the tensions and concerns of the Growing Pains video. Employing a diptych format that abuts grainy military video stills with high resolution photographs from the garden, the prints locate a private world of beauty within a larger world of conflict. Similar strategies used in the video to both contrast and connect the opposing sources of imagery are again engaged in the prints, including the use of both low and high camera angles, as well as the overlaying of military navigational data, viewfinder target markings, and black censor bars onto the garden, indicating surveillance. Each diptych is subtitled with a short statement or command from the military personnel in the video.

FLOW
Flow, a multi-layered video, is projected down from the ceiling onto a white screen on the floor so that viewers’ spatial experience is integral to the work. We circulate around the piece, viewing it from all sides as one would walk around the edges of a large puddle of water, looking into its depths. Upside-down neighbourhood reflections were shot with the camera sometimes oriented upright and sometimes on its side. The resulting footage dislocates the familiar, with colours, shapes and movement taking on a visual role independent from the content portrayed. This footage was digitally merged with fifty-year-old colour home movies, often rotated upside-down or sideways, like the snapshots in the Reflection images. The resulting video work is a continually changing kaleidoscope of time and place, abstraction and representation, reality and memory. The soundscape is layered, sometimes evoking what is occurring visually, sometimes interweaving an additional narrative that is heard but not seen: the voice of a doctor dictates a report that describes the state of dementia and disorientation of a very elderly man, suggesting possible connections between the patient and the imagery of the old movies. The video is 4 minutes long, and loops continuously.

The Flow projection can be installed with the images from the Reflection series presented as backlit transparencies in light boxes. The images combine upside-down reflections of houses, trees and streets in neighbourhood puddles, with decades-old colour snapshots, glimpsed like fragments of memory through the contemporary street images. They echo the many dualities at play in the video - surface and depth, past and present, reality and abstraction - and propose a space of introspection and reflection on our individual place within a temporal and spatial continuum. Exhibited together, both still and moving media emanate light in an otherwise dark space to dramatic

REFLECTION
The eight images in the Reflection series layer simultaneous narratives of different times and places. Attracted to the “world within a world” quality of reflections in pooled water, Pagurek photographed reflected houses, trees and streets, appearing upside-down as they emerge from the flat plane of snow or pavement surrounding the puddle. The upside-down reflections of the neighborhood transform a familiar reality with a sense of dislocation. To echo this feeling of disorientation, and to further accentuate the passage of time captured through the changing seasons in the images, Pagurek digitally inserted into each image one or more snapshots from several decades ago, also placed upside-down. This last gesture nudges the work further into abstraction as colours and textures function apart from the reality they represent. The old photographs are not seen in their entirety but, like fragments of memory, are glimpsed through the contemporary street images. The photographs of the water are focused on the depths of the reflections, while the shallow depth of field blurs the peripheral foreground, blending it into the soft grain of the old snapshots. Several sets of dualities intermingle in the work: The play between surface and depth in the images evokes a contemplative sense of looking into a different time and space, the present and past coexisting. The images oscillate between representation and painterly abstraction, while the intimate, private context of the family snapshot merges with the more public realm of landscape and street photography. Further, there is a dynamic tension between the photograph’s traditional role as documentation of the ‘real’ and the constructed nature of these images. In counterpoint to the minute-by-minute frantic pace of contemporary life, the work proposes a space of introspection and reflection on our individual place within a temporal and spatial continuum.

PASSAGE
Building on the concerns of the photo-based Light series and the video Friday Morning, Passage evokes several layers of time and place through video imagery and sound. Separate yet connected narratives unfold: Present-day footage follows richly coloured light and shadow patterns appearing inside and outside the artist's house throughout the course of the day, from the cool blue-purples of morning light to the warm oranges of early evening. Meanwhile, black and white archival footage provides fleeting glimpses of Jewish life during the early part of the last century - everyday life in pre-World War 2 Eastern Europe, and the immigration of some to ghettoized urban life in North America. Amongst these fragments of an earlier era we recognize women at market, hands sewing, immigrants disembarking from a ship, street scenes. At the same time, the accompanying soundscape situates us simultaneously in the past and present, in domestic and public spaces. The rhythm of her family’s daily activities and interactions unfolds through sound, while the passage of time through the day is tracked from the song of birds at dawn to the late night chirping of crickets. A past era is made more immediate through the sounds of horse-drawn wagons, marching troops, spoken Yiddish and traditional melodies. The fleeting immateriality of the video finds material embodiment in the nine sequential stills printed from Passage, each an intersection of coexistent narratives.

LIGHT
Three duratrans transparencies in light boxes from the Light series explore our varied perceptions of time by digitally interweaving photographs of light and shadow patterns observed around a house through the day, with old black and white photographs from an earlier generation. These works contrast our daily, even hourly awareness of time elapsing, with a sense of the passing of eras. Two suspended moments, separated by many decades, are brought together. Different sections of the layered images are brought into view or hidden by varying degrees of transparency and opacity. The first piece in the series consists of LightJet prints on photographic paper, while the next three are exhibited as duratrans transparencies in light boxes. A natural progression for these investigations was to introduce the elements of durational time, motion, and the additional sensory experience of sound, by moving into the realm of video. When creating the still photos for the Light series, the artist was intrigued by the abstracted quality of the subtly flickering movements of shadow patterns created by light passing through foliage ruffled by the wind. She began to shoot digital video footage of moving patterns of light and shadow as they appeared on house floors and walls as well as outdoors on pavement and roadways. This type of pattern of moving light and shadow was the basis for Friday Morning and Passage, new works in digitally manipulated video.


CURRICULUM VITAE

EDUCATION
1992 Masters of Fine Arts, University of Victoria, Victoria, British Columbia
1990 Bachelor of Fine Arts, Queen’s University, Kingston, Ontario

SELECTED SOLO EXHIBITS
2010 High Value Targets, Patrick Mikhail Gallery, Ottawa, Ontario
2009 Reflection and Flow, Le Mois de la Photo à Montréal, at Maison de la culture du Plateau-Mont-Royal, curated by Gaëlle Morel, Montreal, Quebec
2008 Flow, Ottawa City Hall Art Gallery, Ottawa, Ontario
2008 Ephemera, Patrick Mikhail Gallery, Ottawa, Ontario
2005 Double Takes: Two Albums, Patrick Mikhail Gallery, Ottawa, Ontario
2004 Impositions, Carleton University Art Gallery, Ottawa, Ontario
2002 Unfoldings, VU, Centre de diffusion et de production de la photographie, Quebec City, Quebec
2002 Balancing Act, Gallery 101, Resource Room, Ottawa, Ontario
2000 A Day in the Life, La Centrale, Galerie Powerhouse, project room, Montreal, Quebec
1999 A Day in the Life, Ottawa School of Art Gallery, Ottawa, Ontario
1998 daily news, Gallery 101, Ottawa, Ontario
1996 InterView, Open Space, Victoria, British Columbia
1995 Projected, TRUCK: an artist run centre, Calgary, Alberta
1995 Send in the Clowns: Acts 1- 4, Floating Gallery, Centre for Photography, Winnipeg, Manitoba
1994 5 Fraserwood Ave., Apt. #2, Agnes Etherington Art Centre, Kingston, Ontario
1994 5 Fraserwood Ave., Apt. #2, Hamilton Artists Inc., Hamilton, Ontario
1993 Maison d'être, The Atrium Gallery, Nepean Civic Square, Nepean, Ontario
1992 Open-House: A Series of Installations, Xchanges Gallery, Victoria, British Columbia

TWO- AND THREE- PERSON EXHIBITS
2010 Losing It, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia
2004 Setts and Impositions, Gallery 44, with Barbara Lounder, Toronto, Ontario
2003 Family Matters, WKP Kennedy Gallery, with Lise Melhorn-Boe and Judy Martin, North Bay, Ontario
2002 Container, SAW Gallery, with Christine Shaw, curated by Vera Greenwood, Ottawa, Ontario
2002 Private Constructs, Eastern Edge Gallery, with Andrea Cooper, St. John’s, Newfoundland

SELECTED GROUP EXHIBITS
2012 Flashcards, Nuit Blanche Ottawa, 2-channel video projection with Michèle Provost, 1345 Wellington St. West, Ottawa, Ontario, September 2012
2012 Recent Additions to the City of Ottawa’s Fine Art Collection, an exhibition at City Hall Art Gallery, Ottawa, Ontario
2012 Local Flora, SAW Gallery, Ottawa, Ontario, June 2012
2012 Le pARTy, Ottawa Art Gallery Auction, Ottawa, Ontario, June 2012
2012 Papier 12 Contemporary Art Fair, Montreal, Quebec
2012 PMG Editions Project, Patrick Mikhail Gallery, Ottawa, Ontario
2011 Place and Circumstance: Recent Additions to the City of Ottawa’s Fine Art Collection, Ottawa City Hall Art Gallery, Ottawa, Ontario
2010 Art Toronto Video Lounge, The Drake Hotel, during the Toronto International Art Fair, Toronto, Ontario
2010 The Triumph of the Therapeutic, Patrick Mikhail Gallery, Ottawa, Ontario
2009 Microcosm, Patrick Mikhail Gallery, Ottawa, Ontario
2009 The Collection’s Cabinet, City Hall Art Gallery, Ottawa, Ontario
2008 Invisible Cities, video exhibit curated by Micaela Giovannotti, Toronto International Art Fair, Toronto, Ontario
2008 Toronto International Art Fair with Patrick Mikhail Gallery, Toronto, Ontario
2008 Tradition and Transformation: Art by Jewish Women, Woman Made Gallery, Chicago, Illinois
2007 Aperture, City Hall Art Gallery, part of Festival X, Ottawa Photography Festival, Ottawa, Ontario
2007 The New: Part 1, Patrick Mikhail Gallery, Ottawa, Ontario
2006 Heteropias: Work from the Contemporary Collection, Ottawa Art Gallery, Ottawa, Ontario
2006 Eye Level Re-Shelving Initiative 2, Eye Level Gallery, Halifax, Nova Scotia
2005 First Anniversary Exhibit, Patrick Mikhail Gallery, Ottawa, Ontario
2005 Inside Look, Karsh-Masson Gallery, Ottawa, Ontario
2005 Contact Photography Festival, Patrick Mikhail Gallery, Ottawa, Ontario
2003 Recent Acquisitions to the City of Ottawa’s Collection, Karsh-Masson Gallery, Ottawa, Ontario
2002 Collections in Context, Ottawa Art Gallery, Ottawa, Ontario
2002 New Acquisitions, Ottawa City Hall Art Gallery, Ottawa, Ontario
1999 Acquisitions 1999, Heritage Building, Region of Ottawa-Carleton, Ontario
1997 PROOF 4, 4-person exhibit, Gallery 44 Centre for Contemporary Photography, Toronto, Ontario
1997 Four Cubed, 4-person exhibit, Hotel New York, Rotterdam, Netherlands (ReBOUNCE Victoria, a cultural exchange project of Stichting Kunst & Complex, Rotterdam and Open Space, Victoria)
1995 Reconfiguring Cultural Identity, 5-person exhibit, Art Gallery of Greater Victoria, Victoria, British Columbia
1993 Artropolis 93: Public Art & Art About Public Issues, Vancouver, British Columbia
SCREENINGS
2010 Screening of Flow in Experimental Docs 5: Phenomenology & Perception, at STEM Cell 2010: Sub Terranean Edmonton Media Arts Festival, Edmonton, Alberta
2009 Screening of Passage at Square Pegs Two: Video Art in the Square, Modern Fuel Artist Run Centre, Kingston, Ontario
2009 Screening of Flow at Centretown Movies Outdoor Film Festival, Ottawa, Ontario
2008 Screening of Flow at the Fabulous Festival of Fringe Film, Durham Art Gallery, Durham, Ontario
2008 Screening of Passage, in Persistent Vision: Passages, a program of recent video on the theme of time, transition, and memory, Ottawa Art Gallery, Ottawa, Ontario
2007 Screening of Friday Morning, in Tales and Stories from the Interior, a program of recent video works, Centre de production Daimon, Gatineau, Quebec

COLLECTIONS
Foreign Affairs Canada
Ottawa Art Gallery
Canada Council Art Bank
City of Ottawa Public Art Collection (purchases in 1999, 2001, 2002, 2008, 2010)
Library of the National Gallery of Canada
Many private collections

COMMISSIONS
2011 Awarded a $90 000 City of Ottawa Public Art Commission to create Currents, a permanent, outdoor LED video display for the Market Place Corridor of the Southwest Transit Extension, installation May 2011
2004 Girl, a double-sided, die-cut magazine insert project appeared in PREFIX PHOTO 9, May 2004

SELECTED GRANTS AND AWARDS
2012 Individual Visual Arts Grant for Mid-Career Artists (also 2002, 2004, 2006, 2008)
2011 Individual Visual Arts “A” Grant (also 2001, 2002, 2004, 2005, 2007, 2008)
2010 Exhibition Assistance Grants (also 1994, 2000, 2001, 2003, 2004, 2007)
2009 Media Artists Grant for Emerging Artists
2006 Assistance to Visual Artists - Project Grant
2006 Centre de production Daimon, media arts and photography - Research and Creation Program
2005 Finalist for the 2005 Karsh Award for artistic work in a photo-based medium, City of Ottawa
2003 Visual Arts Creation/Production Grant for Mid-Career Artists
2001 Travel Grant for exhibit at Vu
1996 Visual Arts “C” Grant
1996 Sheila Hugh Mackay Foundation - Project Cost Grant
1994 Photography Project “B” Grant

Canada Council Grants
Ontario Arts Council Grants
City of Ottawa ‘Arts Funding Program’ Grants

SELECTED EXHIBITION PUBLICATIONS, REVIEWS, PRESS, INTERVIEWS
“Ottawa goes high-tech in how it displays public art”. CTV Ottawa News at 6, (May 25, 2011).
Willems, Steph. “Winner named for Marketplace art contest.” Nepean/Barrhaven EMC [Ottawa], (Sept. 16, 2010).
Ed. “Video art entertains Barrhaven commuters.” The Ottawa Citizen, (May 30, 2011).
“Place and Circumstance: Additions to the City of Ottawa’s Collection.” Ottawa: City Hall Art Gallery (2011).
Simpson, Peter. “Work by Pagurek chosen for Transitway station.” The Ottawa Citizen, (Sept. 3, 2010).
Simpson, Peter. “The Big Beat: Cheryl Pagurek wins $90,000 city competition for Transitway extension.” The Ottawa Citizen online, Sept. 2, 2010.
Flinn, Sean. “On the periphery.” The Coast, [Halifax], (August 19, 2010).
Ed., Canadian Art online: See it: “Losing It: Mental Notes”. August 12, 2010.
Simpson, Peter. “Unique proposals, uniform passion.” The Ottawa Citizen, (August 10, 2010).
Parker, Judith. Review of High Value Targets exhibit in Afterimage: The Journal of Media Arts and Cultural Criticism, issue 37.6, (May/June 2010).
Landry, Mike. “Growing Pains and High Value Targets.” Things of Desire, issue 66, Vol. 2 No. 27, Jan. 14, 2010 http://thingsofdesire.ca/2010/01/14/growing-pains-and-high-value-targets-ottawa/.
Caplan, Mitchell. Radio interview on Click here, CHUO-FM89, January 20, 2010.
Morel, Gaëlle,ed. The Spaces of the Image. Montreal: Le Mois de la Photo à Montréal, 2009.
Wombell, Paul. A Theatre of Images: Le Mois de la Photo à Montréal. Next Level (UK), edition 18, 2009.
Bouchard, Marie Ginette. Déjouer l’image. Vie des Arts, issue no.216, (Autumn 2009).
City of Ottawa. Exhibitions 2008. Ottawa: Karsh-Masson and City Hall Art Galleries, 2008.
Falvey, Emily. Tract 11. Ottawa: Ottawa Art Gallery, 2008.
Halkes, Petra. Cheryl Pagurek: Ephemera. Ciel Variable, issue no. 79, (Summer 2008).
Halkes, Petra. There, in the Flow of Time. Ottawa: Ottawa City Hall Art Gallery, 2008.
Ottawa Art Gallery: Collections: Contemporary Art Collection. Ottawa, 2008
Higginson-Murray, Connie. “Portraits of space inspire reflection.” The Ottawa Citizen, [Ottawa], (Jan. 18, 2007).
Ingrey, Katie. Aperture. Ottawa: City Hall Art Gallery, 2007.
Regenstreif, Michael. “Artist explores Jewish immigrant experience in poignant exhibition.” Ottawa Jewish Bulletin, [Ottawa], (Dec. 3, 2007).
Gessell, Paul. “Critics’ Picks: Fine Arts.” The Ottawa Citizen, [Ottawa], (June 4, 2005).
Modder, Sabine, ed. “Double Takes.” Art MoCo, June 3, 2005 http://mocoloco.com/art.
Racette, Bohdanna. “Domestic Space Invaders: Pagurek’s politics of space get personal.” Guerilla, Issue 5, June 2005. http://www.getguerilla.ca.
Simpson, Peter, ed. “Images of Ottawa: Five photographers vie for the Karsh Prize.” The Ottawa Citizen, [Ottawa], (July 11, 2005).
Irvin, Sherri. “The Image Becomes the Frame: Cheryl Pagurek’s Impositions” in Impositions. Ottawa: Carleton University Art Gallery, 2004.
Palmer, Alexandra. Setts & Impositions. Toronto: Gallery 44 Centre for Contemporary Photography, 2004.
Budney, Jen, ed. RR101: 1999-2003 Gallery 101 Resource Room Projects. Ottawa: Gallery 101, 2003.
McElroy, Gil. “Review of ‘Family Matters’.” ART PAPERS Magazine, Vol. 27, No.5 (Sept./Oct. 2003).
Melhorn-Boe, Lise, comp. Looking at Art: Family Matters. North Bay: WKP Kennedy Gallery, 2003.
Baert, Renee. Collections in Context. Ottawa: Ottawa Art Gallery, 2002
Cantin, David. “Rôles et fictions.” Le Devoir, [Montreal], Vol. XCIII, No. 15 (January 26, 2002).
Greenwood, Vera. Container - A Dialogue Between Form and Function. Ottawa: SAW Gallery, 2002.
Quine, Dany. “Expositions.” Le Soleil, [Québec City], (February 2, 2002).
Stelmackowich, Cindy. “Caught in the folds” in Unfoldings / Déploiements. Québec: Vu, Centre de diffusion et de production de la photographie, 2002.
White, Karen. “At Home in ‘A Day in the Life’” in Pink Link ou la proposition rose. Montreal: La Centrale, 2001.
Marple, Chari. “I read the news today, oh boy.” XPRESS, [Ottawa], (Feb. 11, 1999).
Lerner, Dr. Loren, et al. “Canadian artists of eastern European origin”: http://art-history.concordia.ca/eea.
Marple, Chari. “Catch all the nudes and news at Gallery 101.” XPRESS, [Ottawa], (Oct. 15, 1998).
Moir, Simone, ed. “MIXlist.” MIX independent art & culture, Vol. 24, No. 2 (Fall 1998).
Clintberg, Shane, et al. Proof 4. Toronto: Gallery 44 Centre for Contemporary Photography, 1997.
Gordaneer, Alisa. “Sitting Uneasily: There’s a war in your living-room.” Monday Magazine, [Victoria], Vol. 22, No.2 (January 4-10, 1996).
Jones, Donna. “Upcoming Show: Cheryl Pagurek: ‘Send in the Clowns: Acts 1- 4’.” PHOTOphile, Newsletter of the Floating Gallery, Centre for Photography in Winnipeg, (January, 1995).
Allen, Jan. 5 Fraserwood Ave., Apt. #2. Kingston: Agnes Etherington Art Centre, Queen's University, 1994.
Kelly, Sue, and others, eds. Artropolis 93 : Public Art and Art About Public Issues. Vancouver: A. T. Eight Artropolis Society, 1993.

SELECTED ART- RELATED EXPERIENCE
2006 Podcast for the exhibit Heteropias, Ottawa Art Gallery
2004 Juror, 2005 Exhibition Selection Jury, City of Ottawa Public Art Program
2001 Juror, Programming Panel for 2002-2003 exhibitions, Ottawa School of Art Gallery
2001 Speaker at the Association for Research on Mothering’s 5th Annual Conference, “Mothering, Literature, Popular Culture and the Arts”, York University, Toronto, Ontario
1997 Exhibition Jury Member for PROOF 5, an exhibit of emerging artists at Gallery 44, Toronto, Ontario
1996 - 1997 Member of the Visual Arts Committee, Open Space Gallery, Victoria, British Columbia
1992 - 1995 Participating Member of Xchanges Gallery and Studios, Victoria, British Columbia

Speaker for Artist’s Talks at Patrick Mikhail Gallery, Ottawa, Ontario, 2008, 2010; Carleton University Art Gallery, Ottawa, Ontario, 2004; Ottawa Art Gallery, Ottawa, Ontario, 2002; Eastern Edge Gallery, St. John’s, Newfoundland, 2002; Open Space, Victoria, British Columbia, 1996; TRUCK, Calgary, Alberta, 1995; Agnes Etherington Art Centre, Kingston, Ontario, 1994; Hamilton Artists Inc. and McMaster University Art Gallery, Hamilton, Ontario, 1994

Visiting Artist to Visual Art Department, Malaspina College, Nanaimo, British Columbia, 1994; Art Department, McMaster University, Hamilton, Ontario, 1994

SELECTED TEACHING EXPERIENCE
2004 - 2006, 2010 Volunteer Art Instructor, Mutchmor Public School, Ottawa, art workshops in elementary grades
1989 - 2006 Instructor for many children’s art programs including classes at the Art Gallery of Greater Victoria, the Ottawa School of Art and the Nepean Visual Arts Centre
1997 Instructor, Victoria College of Art, Victoria, British Columbia
1997 Replacement Instructor, Visual Art Program, Camosun College, Victoria, British Columbia (also 1995)
1995 - 1996 Gallery-in-the-Schools Volunteer, Art Gallery of Greater Victoria, Victoria, British Columbia
1993 - 1996 Art and Art History Instructor, Division of Continuing Studies, University of Victoria, Victoria, British Columbia
1993 - 1994 Art Instructor, Camosun College Community Education Services, Victoria, British Columbia
1992 - 1994 Art Instructor for adult art classes at four Victoria Community Centres, Victoria, British Columbia
1991 Instructor, Department of Visual Arts, University of Victoria, Victoria, British Columbia
1990 - 1991 Teaching Assistant, Department of Visual Arts, University of Victoria, Victoria, British Columbia
1987 - 1990 Education Programme Docent, Agnes Etherington Art Centre, Kingston, Ontario


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