Cheryl Pagurek works in video, photography and installation for gallery exhibitions and public art projects, responding to the specific characteristics of each site. She often interweaves source materials from many contexts to create a dynamic and cohesive whole, while accentuating the abstract qualities of colour, form, movement and tempo. Her works are the site of both interconnections and tensions within such dualities as public/private, past/present, creation/destruction, representation/abstraction, reality/constructedness, urban/natural spaces. Over the years she has used many approaches to bring together these polarities, and to probe and disrupt our usual expectations of photography and video. These have included physically shaping photographs into objects, removing cut-out shapes from photographs, digitally constructing photo-based images, and digitally manipulating video. She explores diverse ways to present video, including the use of multiple channels, a custom-shaped format, rear projections, public outdoor locations, and gallery installations that use a floor projection or floating suspended screens to make viewers’ spatial experience integral to the work.
Pagurek’s recent works in photography and video dwell in the transitional, liminal spaces between natural and built environments, between abstraction and representation, and between lens-based media and drawing/painting. They employ water imagery within a conceptual framework to investigate the intersections between these dualities. Water embodies the passage of time and encapsulates the idea of continual change.
Her most recent suite of work, Bodies of Water, includes a video, a series of photo-drawings, and several printed video stills. They combine the fluidity of gestural life drawing with urban reflections in water. The video intertwines narratives of human journeys with those of travelling waters in a vivid expression of colour, energy, and movement. Hand-drawn animated silhouettes were created frame-by-frame to mask the water videos so that the water appears in the shapes of moving people of all ages. The five printed video stills capture essential qualities of the video: the tension between abstraction and representation; the coexistence of natural forms and urban space; the dynamic combinations of colour and motion; the changing relationships between positive and negative space; and the portrayal of an ongoing flow of humanity, a testament to both constant change and continued endurance.
Each photo-drawing presents a black and white photograph of reflections in water, seen only within the lines of a drawing; one medium is thereby revealed through another. By removing the element of colour, the focus is on mark-making that echoes the movement of the water and the energy of the body. A wide range of emotion is conveyed in the video by the fluctuating character of the water and by the gestures of the figures. Through their posture and manner of movement, the individuals express confidence and frailty, joy and loneliness, nonchalance and playfulness, exuberance and hesitancy. The set of six drawings further explores the human condition by re-interpreting characters from the video in new drawings that reflect a full spectrum of age and attitude. A toddler joyfully runs ahead of his father, a young girl adds a skip to her step, a man casually pauses to use his phone, a woman strides confidently, an elderly couple carefully help each other along.
By marrying swirls of water with human movement, the Bodies of Water photo-drawings and video stills embrace the flux of our experience, as we navigate the flow of time.
In early works, home and family life were central themes, situated within a broader framework of social, historical, commercial and political contexts. Subsequent works record her own observations of everyday natural phenomena in photography and video, often combining them with found imagery and footage, such as old family snapshots and movies, archival films and photographs, and contemporary military tracking footage. These multi-layered amalgams link multiple spaces, eras, narratives, and perspectives. Several series 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.
The State of Flux photographs, River Suite photo-work and Wave Patterns video, all from 2012, dwell in the transitional, liminal spaces between natural and built environments, abstraction and representation, photography and painting, nature and culture. They employ water imagery within a conceptual framework to investigate the intersections between these dualities. As in her previous projects that present the passage of time as being embodied in the flow of water, in these new works, water imagery encapsulates the idea of continual change.
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). Since then her work has been shown extensively in galleries across Canada from Victoria to St. John’s, as well as in a commissioned project for Prefix Photo magazine (2004). Recent and upcoming exhibitions and screenings include those in Ottawa, Toronto, Kingston, Montréal, Chicago and Toulouse. Her video and light box installation Reflection and Flow was shown in 2009 in Montréal as part of Le Mois de la Photo, and in 2010 at Mount Saint Vincent University Art Gallery in Halifax. In 2010 she also launched the video Growing Pains and photographic series High Value Targets at Patrick Mikhail Gallery in Ottawa. She was awarded a Public Art Commission by the City of Ottawa Public Art Program in 2010; Currents, her LED video display for the Market Place Transit Station, was installed in May 2011. In 2012, in addition to participating in Ottawa’s inaugural Nuit Blanche with Flashcards, a collaborative video installation, she also completed several new bodies of work in photography and video. These will be shown at Patrick Mikhail Gallery in January 2013 in a solo exhibit entitled State of Flux. 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, and has been written about in Canadian, American and British publications, including Ciel Variable, Vie des Arts, Canadian Art online, Next Level (UK), and Afterimage: The Journal of Media Arts and Cultural Criticism. She has received grants from the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts, and is represented in Ottawa by Patrick Mikhail Gallery.
STATE OF FLUX
Drawing on the evocative potential of water, each image in the State of Flux photographic series embraces the vitality of one particular instant. These unusual images reveal a paradoxical relationship to the “real”. Although each photograph captures a specific place and time that occurred in front of the camera, the resulting images transcend the familiar details and conventions of land- or water-scape to create newly abstracted worlds. While the medium of photography allows the distillation of gestures and forms that are otherwise blurred and imperceptible to the naked eye, these hyper-real photographs nonetheless have strong references to modernist painting in their abstraction and engagement with surface. The unidentified reflections remain ambiguous and enigmatic, as texture, colour and movement evoke an intuitive response. In our accelerated world of perpetual change and quick perceptions, each work offers a moment to savour, plucked from the water’s constant state of flux for our prolonged contemplation.
In River Suite twelve close-up photographs that capture the changing light effects in rippling waves are arranged in a matrix as a unified group; yet, we are always aware that the whole is made up of its constituent, diverse parts. In its conceptual approach and compositional process, the work explores the tensions and continuities between several dualities. Although informed by the idea that landscape, in its framing of our natural environment, is a cultural construct that developed with and in contrast to urbanization, River Suite nonetheless undermines traditional conventions of the genre. Instead of presenting a single view at a fixed moment from a detached, distant perspective, it creates a composite of multiple viewpoints that reveal the power and beauty of the water, constantly evolving over time. With no visible horizon or long view, the viewer is immersed in the water’s expanse. While documenting the particularities of location, the imagery nears abstraction in its celebration of colour, light and form. The use of the grid, a structure of the built environment, imposes order onto the freely moving water, arranging the natural imagery into a composition.
In a related video, Wave Patterns, twelve video channels are arranged in a matrix of three channels high by four wide. Shot at several Canadian locations, each channel captures flowing water and its shifting reflections, colours, moods and movements. Together they form an ever-changing tapestry as each video evolves itself and in concert with the others, beginning with a single channel and culminating in the full grid of twelve. Channels fade in and out individually and in groups as the rectangular grid pattern fluidly builds up, breaks down, and builds itself up again. Abstraction emerges in the colour and forms of the water imagery, as well as in the visual patterns created by the play of oscillating and fluctuating rectangles of video. By contrasting the free-flowing water with its containment within the ordered structure of the grid, the work explores the intersections between the natural world and the human impulse to build and make order. The audio track contributes to the work’s constructive process by building an unexpected soundscape of construction sounds; the noises of different tools are associated with the appearance of particular video channels according to the rhythm of the editing. In the relationships of its many parts to the whole, the video projection creates a dynamic choreography of change over time, simultaneously exploring both fragmentation and unity.
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 TARGETS
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, 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
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.
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.
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.
1992 Masters of Fine Arts, University of Victoria, Victoria, British Columbia
1990 Bachelor of Fine Arts, Queen’s University, Kingston, Ontario
SELECTED SOLO EXHIBITIONS
2013 State of Flux, Patrick Mikhail Gallery, Ottawa, Ontario
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 EXHIBITIONS
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 EXHIBITIONS
2012 Flashcards, Nuit Blanche Ottawa, 2-channel video projection with Michèle Provost, 1345 Wellington St. West, Ottawa, Ontario, September 2012
2012 Close to Home: 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
2012 Le pARTy, Ottawa Art Gallery Auction, Ottawa, Ontario
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
2012 Screening of Wave Patterns in Square Pegs V: East/West, Modern Fuel Artist Run Centre, Kingston, Ontario, August 15 2012 and AKA Gallery, Saskatoon, SK, September 2012
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
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
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 A Grant, City of Ottawa Arts Funding Program, Creation and Production Fund for Professional Artists - Visual Arts Category (also 2001, 2002, 2004, 2005, 2007, 2008, 2011).
2012 Ontario Arts Council, Individual Visual Arts Grant for Mid-Career Artists (also 2002, 2004, 2006, 2008)
2010 Ontario Arts Council, Exhibition Assistance Grants (also 1994, 2000, 2001, 2003, 2004, 2007)
2009 Ontario Arts Council, Media Artists Grant for Emerging Artists
2006 Canada Council for the Arts, 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 Canada Council for the Arts, Visual Arts Creation/Production Grant for Mid-Career Artists
2001 Canada Council for the Arts, Travel Grant for exhibit at Vu
1996 Canada Council for the Arts, Visual Arts “C” Grant
1996 Sheila Hugh Mackay Foundation - Project Cost Grant
1994 Ontario Arts Council, Photography Project “B” Grant
SELECTED EXHIBITION PUBLICATIONS, REVIEWS, PRESS, INTERVIEWS
Modder, Sabine. “Sneak Preview: Cheryl Pagurek.” Art Moco, Aug. 23, 2012. mocoloco.com/art/archives/027591.php
St-Laurent, Stefan. Local Flora. Ottawa: Galerie SAW Gallery, 2012.
Close to Home: Recent additions to the City of Ottawa’s Fine Art Collection. Ottawa: City Hall Art Gallery, 2012.
“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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