Berm: Epilogue
Sydney LancasterGel Transfer Prints on Canvas, Laser prints on Acetate, inkjet prints on silk organza, cotton thread
A work from “Archives of Absence,” a collaborative project with award-winning poet Catherine Owen. This “Epilogue” captures small moments in the history of a noise-calming berm in Millwoods, an in-between place that, on close examination, revealed fragmented stories about how people and animals used the space, and how human intervention (or lack of it) changed the land over time.
Information
-
Media
mixed media -
Subject
abstract -
Artwork Type
printmaking -
Dimensions (framed)
48" x 48"
Cost
Sydney Lancaster
Sydney Lancaster is an Edmonton-based multidisciplinary artist and writer. Her work has been presented in solo and group exhibitions in public, artist-run, and commercial galleries in Alberta, BC, Ontario, Quebec, and Newfoundland. Lancaster has held residencies at Harcourt House (AB), Gros Morne National Park (NL), Red Rabbit (NS), Quarters Arts Society (AB), Ruth Carse Centre for Dance (AB), and Main & Station (NS). She has received support for her work from the Edmonton Arts Council, the Edmonton Heritage Council, the Alberta Foundation for the Arts, and the Canada Council (through the Art in the Park program). Her practice considers the intersection of place, objects, memory, and time, and includes site-specific installation and sculpture, photography, video and audio works, printmaking, and mixed media/found object assemblage. Sydney has worked in Artist-Run Culture ((Latitude 53), and been an advocate, volunteer, and board member for various organizations supporting human/LGBTQ2S rights, housing & homelessness advocacy, and artists’ rights over the last 33 years, including past Advocacy Director and Past President of Visual Arts Alberta - CARFAC.
Artist’s Statement
I am captivated by the ways in which humans negotiate their understanding of identity and memory in relation to place, objects, and history. We construct realities and identities for ourselves and others: what is left out is as important as what is chosen. What is chosen (and what becomes ‘real’) changes over time.
My way of art-making privileges gaps, what’s left unsaid, edits, and in-between states and places. These spaces house potential: for new meanings, for critique, for making work that incorporates indeterminacy and process.
I take a multidisciplinary approach in my practice, using whatever tools seem to work best for a given project, including photography, drawing, printmaking, installation, video, and sculpture. These tools allow for ‘hands-on’ reassembly and questioning of relationships, and a variety of means to reflect upon the construction and interpretation of lived experience.