programming details

Papers

Name: Carinna Parraman

Country : England

Affiliation : University of the West of England UK.

Title: « The Cabinet of Curiosities: New materialities, narratives and storytelling across cultures »

Printmaking, celebrated for its democratic nature, serves as a medium for social engagement, cultural expression, and political activism. It has historically recorded and disseminated information while fostering mental well-being through creative practices. The "Cabinet of Curiosities," a culmination of a 3-year artist residency, reflects human experiences and narratives of migration, identity, ecology, and grief.

Artists like Ebony G. Patterson explore post-colonial themes using gardens as metaphors, while Cecilia Mandrile’s "Quitapenas" portrays resilience through fragile mediums. Navid Azimi Sajadi’s "Pelagos" addresses cross-cultural experiences with wearable storytelling. Tracy Hill’s sensory printmaking connects vision with touch and sound. Artists Alice Kettle, Helen Carnac, and Carinna Parraman document environmental cycles through immersive observation, while Rodrigo Arteaga investigates mycelial networks and non-human interconnections.

This portable, multi-material exhibition encourages diverse audiences to engage with art and share experiences, bridging social and conversational divides.

 

Name : Amber Robles-Gordon

Country : USA

Affiliation : - 

Title : Sacred Coevolution: Art as Ritual, Resistance, and Renewal

In this keynote presentation, interdisciplinary artist Amber Robles-Gordon delves into the conceptual and creative processes behind her latest body of work, Sacred Coevolution: Undoing the Enchainment of Being(s). Through large-scale mixed media assemblages, Robles-Gordon constructs a visual mythology that reimagines The Great Chain of Being and critiques the colonial, patriarchal structures embedded in Western cosmology. Rooted in human ecology and inspired by the principle of coevolution, her work offers a decolonial paradigm—centering ancestral knowledge, collective liberation, and the spiritual power of the People of the Greater Majority.

As the United States faces political and ecological upheaval, Robles-Gordon reflects on the role of artists as cultural healers and truth-tellers. She explores how artistic practice becomes both ritual and resistance—and how collaborative intention, ancestral memory, and visual storytelling can regenerate our relationship to land, spirit, and one another. This keynote invites a deeper dialogue on art's capacity to imagine—and enact—transformational change.

 

Name : Pohanna Pyne Feinberg

Country : Canada (Quebec)

Affiliation : -

Title : « Revitalizing Intangible Cultural Heritage Through Botanical Inks »

Pohanna Pyne Feinberg will share reflections from her burgeoning research-creation project that explores the revitalization of natural inks, dyes and pigments in contemporary art as a method for restoring and preserving intangible cultural heritage. Referring to theories such as plantcestry (Feghali), land as pedagogy (Simpson), and artistic modes of emplacement, she will discuss how these practices may infuse the creative process by activating somatic memory, revealing suppressed relationships with the land, and fostering a sense of belonging. Critical and decolonizing perspectives of land-based art practices, such as reciprocal foraging (Gustafson), will also be considered. Personal anecdotes and insights will be offered from her recent participation in an artist residency at SERDE art center in Aizpute, Latvia where she made inks with foraged medicinal plants that were historically used as remedies by her ancestors from that region. 

 

Name : Liz Chalfin

Country : USA

Affiliation : Zea Mays Printmaking

Title: « Mitigating the environmental impacts of printmaking processes »

Printmaking processes often have hidden environmental impacts, such as the harmful effects of acrylics and neutralized mordants like ferric chloride on aquatic ecosystems. While large institutions can manage hazardous waste with advanced filtration systems, small studios and independent artists face greater challenges.

Zea Mays Printmaking, a Massachusetts studio founded in 2000, champions safer, non-toxic, and sustainable printmaking practices. Serving as a global resource, the studio conducts research, shares free online guides, and collaborates with artists worldwide to advance eco-friendly innovations.

One of their key contributions is developing DIY "flocculation" methods to safely manage harmful byproducts. These systems are easy to implement in small studios, reducing environmental impact. Founding director Liz Chalfin demonstrates techniques for filtering acrylic inks and ferric chloride, repurposing wastewater as a plant nutrient. Zea Mays Printmaking’s efforts exemplify how studios can embrace sustainability without sacrificing creativity.

 

Name : Carolyn Mckenzie-Craig

Country : Australia

Affiliation : National Art School

Title: « Echo and Diffraction »

This paper explores innovative printmaking practices that transcend replication, leveraging the print studio's theoretical framework to engage with unstable and immaterial production relationships. It examines two works, Sites of Extraction and Bacterial Nervosa 2, through a feminist reinterpretation of the myth of Echo. These works investigate material traces and cultural metaphors in the context of the "JPEG empire," offering a print theory-based lens to critique contemporary material and ecological issues.

Both projects use human and non-human elements to expand the aesthetics of affect, addressing methodologies of creation amidst resource decline. They interrogate capitalism’s environmental impact, examining its excess and ecological porosity.

Grounded in Johanna Drucker’s materialist modes (Forensic, Distributed, Performative) and Karen Barad’s diffraction theory, the paper destabilizes traditional representational practices. By embracing porous, relational methods, it reimagines printmaking as a conceptual tool for navigating the complexities of our interdependent, resource-challenged world.

 

Name : Clare Humphries

Country: Australia

Affiliation : Royal Melbourne Institute of Technology University

Title: « Seas of Delirium : Reorienting Printed Matters »

Printmaking has long been celebrated for its democratic and activist potential, enabling the affordable dissemination of ideas and fostering public access to art and literacy. However, its role as a tool of reproduction and dissemination has also been co-opted by oppressive systems, particularly colonial powers, to propagate dominance and control.

This paper explores how contemporary artists critically engage with the colonial histories of print. Australian artists such as Judy Watson, Jenna M Lee, Julie Gough, Deidre Brollo, and Clare Humphries utilize print's inherent material intelligences—mirroring, binarizing, misregistration, and flipping—to interrogate colonial archives and challenge the legacies of imperialism.

Drawing on Jennifer L. Roberts’ concept of the "physics of print," the paper highlights how these artists transform print from a mechanism of control into a medium of resistance, questioning and dismantling colonial narratives while unlocking its potential for contemporary critique and change.

 

Name : Dan Starling

Country : Canada (British-Colombia)

Affiliation : The University of British Columbia

Title: « Responsible Co-Creation with Nature »

This paper explores how printmakers, particularly settler artists, can responsibly reimagine depictions of nature during the climate crisis. Historically, Canadian wilderness imagery often portrayed nature as passive and unoccupied, reinforcing colonial exploitation. However, the climate crisis highlights nature as an active participant capable of communication—a perspective long held by Indigenous communities.

Contemporary printmakers, including Ed Pien, Amberlie Perkin, Tanya Lukin Linklater, and Sylvan Hamburger, use materials like water, ink, and wood as co-creators, aligning with Karen Barad’s “agential realism” to acknowledge the agency of the natural world and emphasize human responsibility.

The author’s project, Walter J. Phillips: Redux, critically revisits the settler artist’s landscape prints. By integrating Phillips’ iconic imagery with digitally scanned natural "mark-making" and hand-cut blocks depicting climate change’s impact, the project disrupts idyllic views of nature. These “glitched” images challenge outdated human-nature binaries, fostering reflection on ecological relationships and inspiring collective environmental action.

 

Name : Elizabeth Sigalet

Country: Canada (British-Colombia)

Affiliation : Kamloops PrintMakers Society

Title: « How Now, Pink Cow? Blurring the Boundaries Between Traditional Printmaking and AI-Generated Imagery »

This presentation explores the intersection of traditional printmaking and artificial intelligence (AI) in contemporary art practice. Using the recurring symbol of a cow—depicted in vibrant and unconventional ways—this body of work delves into themes of political polarization, climate change, and the rural-urban divide. Grounded in a personal and professional background that spans engineering, agriculture, and fine arts, the project examines how traditional methods and cutting-edge technologies can coalesce to foster dialogue about pressing societal challenges. This presentation will discuss the artistic process, ethical considerations, and the implications of integrating AI into traditional printmaking, positioning the work within broader academic and artistic discourses.

 

Name : Jill Ho-You

Country: Canada (Alberta)

Affiliation : Alberta University of the Arts

Title: « Expanded Printmaking and Environmetal Crisis »

This talk explores the intersection of psychology, anatomy, and environmental science within an experimental printmaking practice. Through 2D prints, bioArt, installations, and art/science collaborations, the work delves into themes of embodied memory, climate change, and the interplay between human health and the environment.

A pivotal moment occurred during a 2015 residency at the University of Windsor, where work in both the print studio and the Incubator BioArt Lab—Canada’s only facility dedicated to bioArt—shifted the artist’s approach. Initial experiments exposing plant and animal cells to household toxins as visual references for anatomical and landscape-inspired prints evolved into works where prints became sites of biological growth.

Projects like Latent Monuments (bacteria and mold growing on etchings) and Retrograde (a video documenting growth cycles) highlight the tension between creation and erasure, reflecting societal and environmental anxieties. Expanded printmaking techniques underscore print’s unique ability to address global environmental and social challenges in the Anthropocene.

 

Name : Joscelyn Gardner

Country: Canada (Ontario)

Affiliation : -

Title: « Am I a bad girl, Nanny?  Memory and Care in a Folio of Letters from the ghost of a nineteenth century white Creole child »

This paper explores the Am I a bad girl, Nanny? Cries of Innocence and Experience project, a collaborative printmaking work set to be exhibited at the Barbados Museum in 2026. It is based on a c.1858 ambrotype of Harriet Thomas Weekes, a black Barbadian nanny, holding a white child. The project, created with Tamarind Master Printer Jill Graham, features 34 lithographic pages with mixed materials like beeswax, gold leaf, and embroidery.

The work engages with the complex interracial dynamics of the colonial era, reflecting on themes of memory, identity, love, trauma, and the colonial legacy. Through the creation of a hybrid bioArt/print installation, it addresses the relationship between black caregivers and white children, emphasizing the role of black nannies within colonial systems. By imagining both the nanny’s and the child's perspectives, the project fosters empathy, confronting colonialism's impact while acknowledging black caregivers’ contributions to folklore, healing, and resistance.

 

Name : Lucinda Tanner

Country: Switzerland

Affiliation : -

Title: « Project Print It: How a book making project supports the process of integration for young migrants »

This presentation discusses the Print It project at Druckwerk Basel, Switzerland, which helps young migrants and refugees integrate through bookmaking. The project guides participants through creating a book using analog printing techniques, from concept and writing to design, printing, and binding. The young people choose their topics, often revolving around identity, and use the book as a medium to express personal experiences, emotions, and themes important to them.

The project encourages independent, goal-oriented learning, strengthens social skills, and boosts self-esteem, as participants take pride in presenting their completed books. It also offers them a platform to express themselves without focusing on language, which can be a barrier to integration. Furthermore, the project connects the young people with local cultural activities, fosters community engagement, and promotes teamwork. Since its inception in 2017, Print It has successfully supported the integration of over 20 groups of young migrants through creative expression and collaborative efforts.

 

Name : Marianne Charlebois et Antoine Caron

Country: Canada (Quebec)

Affiliation : Centre d’artistes l’Imprimerie

Title : « Repenser notre rapport à la matérialité du cuivre en pratiques artistiques contemporaines pour défier l’extractivisme, 1^ière partie »

Copper, a fundamental material in certain artistic practices such as printmaking, is facing the risk of depletion by 2050. This prospect raises major ecological, social, and aesthetic concerns. Moreover, its exploitation is embedded in extractivist dynamics inherited from colonial systems. Artist Marianne Charlebois explores these issues through copper recycling during her residency at Atelier Presse-Papier, developing a material and reflective approach rooted in the realities of late-stage capitalism. Antoine Caron, for his part, co-leads a research group at Atelier la Coulée aiming to create an eco-responsible metal alloy while building intersectoral partnerships with other artist-run centers and activist groups. These initiatives illustrate how artists can rethink their relationship to materials by developing networks of solidarity and dialogue around the supply chain. Thus, art becomes a space for both social and material transformation.

 

Name :  Ruth Pelzer-Montada

Country : Scotland

Affiliation : Edinburgh College of Art / The University of Edinburgh

Title: « The motility of/in print – a new(ish) ontology? »

 ‘Motility’ refers to the ability of living organisms to move independently, distinguishing it from ‘mobility,’ which involves the movement of objects. Focusing on motility, this presentation explores the agency of materials and objects, drawing from new materialism to reconsider hierarchies between humans and non-humans. It also reflects on the precarity of labor in the context of global neo-liberalism. Art, particularly printmaking, offers potential for fostering new forms of connection, with an emphasis on interdisciplinary exchange, dialogue, and collaboration. This shift is evident in contemporary printmaking, where works increasingly take the form of installations and engage with space in dynamic ways. Through examples of innovative print processes from artists like Ari Pelkonen and Inma Herrera, the presentation explores the 'motility' of print materials, the interrelationships between techniques and technologies, and the evolving nature of printmaking, highlighting how printmaking's mutability informs both artistic expression and philosophical understanding.

 

Name: Susanna Castleden

Country : Australia

Affiliation : Curtin University

Title: « First Contact: Lasting impressions and storytelling in First Nations prints from the Curtin University Art Collection »

This presentation explores the intersection of Aboriginal and Torres Strait Islander art, colonial history, and printmaking in Australia, focusing on the Carrolup Collection. This collection includes 127 artworks created by Aboriginal children from the Stolen Generations in the late 1940s, reflecting their experiences at the Carrolup River Native Settlement. These artworks were later rediscovered and returned to Noongar country in 2013. The presentation also highlights the work of Laurel Nannup, a Stolen Generations child and printmaker, whose etchings tell personal and cultural stories, including "First Contact," a significant public artwork. The exhibition "N'yettin-ngal Wagur – Yeye Wongie [Ancestors Breath – Today Talk]" at the John Curtin Gallery in 2024 featured new works by Noongar artists responding to the Carrolup Collection, creating an intergenerational dialogue. The presentation underscores printmaking as a medium for truth-telling, historical documentation, and the ongoing impact of colonialism in Australia.

 

Name : Franck Calard

Country: Canada (Quebec)

Affiliation: Université du Québec à Trois-Rivières

Title : « Processus de décolonialité par les archives comme matériau artistique : mémoire yéniche et communautés de voyageur·ses »

Franck Calard presents a theoretical and artistic reflection on decolonial uses of archives in contemporary art, grounded in an autoethnographic practice rooted in the Yenish community. By employing an inductive methodology, his approach seeks to challenge dominant historical narratives and mechanisms of marginalization through gestures of reappropriation and reconfiguration of archives—visual, textual, and sonic—primarily drawn from Quebec collections. Through a sensitive and subjective activation of these materials, he aims to make marginalized memories visible and to produce embodied counter-narratives. His work draws upon the theoretical contributions of Marina Gržinić, Helios F. Garcés, Michel Foucault, Homi K. Bhabha, Anne Klein, and Yvon Lemay. His artworks Kehlen Jenisch Kehlen and La Biele et le gypsy peddler serve as a basis to analyze the archive as an aesthetic, political, and identity-related material, and to explore the critical potential of affective memory from a decolonial perspective.

 

Name : Catherine Hehir

Country : Ireland

Affiliation : MTU Crawford Collège Of Art and Design Cork Rep Ireland, Cork Printmakers Rep Ireland, DJCAD Dundee Université

Title: « Pluriversal Engagement : Tacit Knowledge, land making and Print as Regeneration in the Bogscape »

This paper examines the intersection of tacit knowledge, ecological stewardship, and artistic practice within the unique terrain of cut bogs in western Ireland. Using grounded theory, the research evolves organically through engagement with local communities, public events, and embodied practice. Through a/r/tography—a methodology that blends the roles of artist, researcher, and teacher—the study integrates soil, plants, and bog materials into printmaking processes. In collaboration with local farmers and guided by regenerative agriculture principles and Jennifer L. Roberts’ grammar of print, the bog is framed as both medium and partner. The artworks are designed to disintegrate back into the landscape, proposing a rethinking of artistic cycles in terms of renewal and reciprocity. Influenced by Lucy Lippard’s The Lure of the Local, the research centers on sensory experience, cultural rootedness, and environmental care. The project offers a compelling example of how art can serve as both a poetic and political tool for ecological regeneration.

 

Name : Laura Bortoloni

Country: Italia

Affiliation: Università degli Studi di Ferrara

Title: « Mapas de água Exploring the Potential of Printmaking in Representing Floods ».

Mapas de água explores how printmaking can respond to environmental crises, focusing on the 2024 floods in southern Brazil. The project reflects on the visual and emotional landscapes created by the disaster—both physical and digital. Combining cartography, mokuhanga (Japanese woodblock printing), and visual research, the work investigates how printmaking can document, interpret, and critique human responsibility in climate-related events. Using sustainable methods and natural materials, the artist reconstructs layered narratives of flood damage, integrating satellite imagery, photographs, and news media with handcrafted and laser-engraved woodblocks. This layering mirrors both the sediment left by the floods and the information overload experienced by victims. The project highlights the dual role of printmaking: historically activist and increasingly self-reflective in addressing its environmental impact. Drawing from Joan E. Greer’s view of visual research as vital to ecological discourse, this work offers an artist's perspective on resilience, memory, and the complex relationship between nature and human development.

 

Name : Flor de Ceres Rabaçal

Country : Portugal

Affiliation : Faculdade de Belas Artes da Universidade do Porto

Title: « The artist’s perspective on the historical connection between printmaking and war »

This presentation explores the historical and ongoing relationship between printmaking and warfare, focusing on how military conflicts have shaped the development and use of print techniques. From lithography to etching, printmaking has served both functional and expressive purposes—spreading information, producing maps, and documenting war experiences. During the Portuguese "War Between Two Brothers," lithography was introduced for military purposes, with artist João Baptista Ribeiro appointed as the army’s head printmaker. Across Europe and the U.S., military mapmaking rapidly evolved with lithographic technology. The presentation also examines the artistic response to war through the “war portfolio,” starting with Jacques Callot’s Les Grandes Misères de la Guerre. Etching, in particular, is framed as a medium of resistance and confrontation, both technically and thematically. Drawing from these precedents, the authors explore how contemporary artists can re-activate historical military techniques and tools for critical, in-situ printmaking that reflects on violence, propaganda, and the legacy of the soldier-printer.

 

Name : Yuki Tam

Country : Canada (Quebec)

Affiliation : Concordia University

Title: « Letter from a Young Printmaker: Notes on Autotheoretical Print »

This presentation explores print media through the lens of Yuki Kéké Tam’s intersectional identity as a Queer, Mad, Chinese diasporic artist in Canada. Framed as an unsent letter, it combines personal storytelling and printmaking as healing practices and resistance to colonial and oppressive structures. Drawing on Jennifer L. Robert’s six concepts of print, Tam introduces six alternative categories—Temporal, Performance, Intimate, Care, Ancestral, and Relational—highlighting the medium’s emotional, political, and historical dimensions. Using autotheory and epistolary form, Tam critiques Western notions of mastery and asserts printmaking as a site of subversion and care. This emotionally charged lecture-performance engages with feminist, intersectional, and decolonial frameworks, advocating for more inclusive narratives in art. The project calls for pedagogies rooted in love and care, while contributing to conversations on diasporic art practices in Canada and beyond.

 

Name: Matt Pitblado

Country : Canada (Quebec)

Affiliation : Université du Québec à Trois-Rivières

Title: « La diffusion de l’information, la propagande politique et le rôle de l’estampe contemporaine dans l’activisme d'aujourd'hui »

This talk offers a reflection on the role of contemporary printmaking as a tool of resistance against the rise of far-right ideologies and fascism. In connection with a series of works presented during the event, the artist explores the reclaiming of printmaking as a medium for counter-propaganda in the digital age. Historically used to disseminate ideologies, printmaking today can expose hate speech and restore truth in the face of disinformation.

As a transgender artist, the speaker shares how media distort the realities of marginalized communities, alongside other social and environmental issues. This presentation questions the power of imagery in public space and proposes reoccupying the streets with messages of social and ecological justice.

Printmaking thus becomes a political act—capable of uniting, raising awareness, and resisting oppressive systems and dominant narratives.

 

 

Demonstrations

 

Name : Daniel Luedtke et Alexey Lazarev

Country : USA et Canada

Title : Hydrographic Print Transfer

The demonstration presents the hydrographic process, which enables screen printing on three-dimensional surfaces. This technique involves printing images onto a hydrographic film and then transferring them onto objects through immersion. Originally developed for commercial applications, it opens up new creative possibilities for artists and printmakers working with a variety of materials.

 

Name : Nathan Meltz

Country : USA

Title : Atomic Reductions

Atomic Reductions showcases the use of a ceramic atomizer in screen printing to create unique reductions. Nathan Meltz will demonstrate the textures and painterly effects achieved through this analog and eco-friendly technique. It offers an effective alternative to aerosols and clogged spray guns, making it an ideal addition to studio screen printing practices.

 

Name : Nicholas Christie 

Country : England

Title : Electro etching workshop

The electro-etching workshop explores this eco-friendly intaglio technique. It will explain zinc electrolysis, its benefits, and demonstrate innovative methods such as embossing and galvanization. Participants will experiment with this approach, which produces no toxic fumes, offering both precision and durability in printmaking.

 

Name : Raluca Iancu

Country : USA

Title : Ancient Craft, Contemporary Tools: Mokuhanga and Laser-Cutting

This demonstration explores the fusion of Mokuhanga, the traditional Japanese woodblock printing technique, with laser cutting. Respecting the ecological and cultural integrity of the process, it opens new artistic possibilities. The workshop will present the stages of preparation, printing, and experimentation, highlighting the interactions between ancestral traditions and modern technologies.

 

Name : Gabrielle Turbide

Country : Canada (Quebec)

Title : Impression expérimentale au phytoplancton

Experimental phytoplankton printing uses this living medium as a photosensitive surface. Through chemical modification of chlorophyll under UV light, ephemeral images emerge and evolve with their environment. This artistic approach blends biology and experimentation, highlighting the fragility of living matter and its interactions with its surroundings.

 

Name : Mitch Mitchell

Country : Canada (Quebec)

Title : Analogue Photoshop Layers

CMYK photogravure explores the evolution of this historical technique and its adaptation to digital technologies. This demonstration presents both the traditional process and its non-toxic photopolymer version, transforming monochrome printing into a full-color method. Experimentation with plate layering and ink transparency opens new artistic and technical possibilities for creators.

 

Name : Liz Chalfin

Country : USA

Title: Creating a plant based screen printing ink

In an effort to move away from acrylic-based inks, Zea Mays Printmaking has conducted research into creating plant-based screen printing ink. This demonstration will cover how to make a transparent ink base using common kitchen ingredients, and how to add color using dyes made from plant matter and non-toxic earth pigments. Liz will share print samples and discuss lightfastness and ink storage. She will demonstrate both the ink-making and printing processes, and participants will have the opportunity to pull a print themselves.

 

 

Exhibitions

 

Name : Mara Cozzolino

Country : Italia

Title : Printing with the sea

This woodblock print series uses the traditional Japanese mokuhanga technique, featuring water-based pigments applied by brush. Inspired by a stay in Italy, the works explore themes of memory and belonging. Each composition expresses an intimate connection with the coastal landscape, reinforcing the ties between personal history and place.

 

Name: Alejandra Aguilar Caballero

Country :  Norway

Title : A Light Shines Somewhere

A Light Shines Somewhere explores the transformation of digital drawing into woodblock printmaking through CNC milling. Inspired by comic book panels, this project captures quiet moments of memory from Norway. Ten luminous prints will be exhibited in sequence, allowing viewers to follow an immersive visual narrative.

 

Name : Aleksandra Janik, Magdalena Hlawacz, Grzegorz Gajos

Country : Poland

Title : Meeting Point

Meeting Point is an installation that explores the contemporary identity of printmaking by integrating ecological printing methods and materials. Among these is Air-Ink, an innovative ink made from atmospheric pollution particles transformed into printing pigment. The installation invites the public to interact and reflect on the connections between tradition, innovation, and sustainability.

 

Name : Bridget Hillebrand

Country : Australia

Title : River

This exhibition explores the materiality of printed disruptions on constructed paper, pushing the boundaries of the medium through experiments in relief and volume. Inspired by the ecological evolution of oceans and rivers, the suspended and wall-mounted works question degradation and restoration through an immersive, sculptural approach using printed washi paper.

 

Name : Emilie Kvist

Country : Canada (Quebec)

Title : Stretched Through Time and Memory

This series explores the distortion of historical images through digitization, questioning memory and forgetting. Old photographs found in Montreal are enlarged into large-format screen prints, where faces become abstract. The installation—situated between printmaking and sculpture—reflects the accumulation and loss of familial traces across time and history.

 

Name : Heather Leier

Country : Canada (Alberta)

Title : Cagey

Cagey explores the intersections of gendered violence, embodied trauma, and ongoing crisis through the fusion of printmaking and quilting—a textile technique that transforms recycled prints into blankets. This project questions commodification and celebrates imperfection, revealing the tension between appearance and reality in a world in flux.

 

Name : Jennifer Scheuer

Country : USA

Title : Artist Books: The Living Archive

This exhibition explores healing, plants, archives, and collections through the artist’s book, combining lithography, screen printing, and digital techniques. The integration of photopolymer letterpress enables the translation of ink washes and drawings, streamlining the printing process while preserving the authenticity of hand-drawn marks.

 

Name : Jolanta Rudzka Habisiak

Country : Poland

Title : Structures, Weaves, Perforations

This interdisciplinary exhibition merges printmaking and textiles, exploring the textile heritage of Łódź, Poland, and the unism theory of painter and theorist Władysław Strzemiński, which advocates for visual unity without contrast. Inspired by lace, folk cutouts, and Jacquard cards, the works question cultural transmission and the preservation of artisanal knowledge, blending perforation, weaving, and light.

 

Name : Mary Sherwood Brock

Country : USA

Title : Paper Boats Project et ImMigration

The Paper Boats Project and the ImMigration project are traveling collaborative installations that explore creativity, resilience, and exchange. Each exhibition invites new artists to participate and reflect on climate change through the many facets of migration—engaging in dialogue with history, Indigenous cultures, contemporary crises, and technological transformations.

 

Name : Melissa Haviland

Country : USA

Title : Tumult

Tumult is an immersive installation where screen-printed flags and rolls overflow the space, spilling from the walls onto the floor. Inspired by water and its historical meanings, the work incorporates handmade paper, Tyvek, and blue tarp to explore memory, colonialism, and industrialization through a dynamic printed landscape.

 

Name : Ariane Lebeau

Country : Canada (Quebec)

Title : Ces marques de nos corps

This exhibition offers a feminist exploration of printmaking, integrating performance, sculpture, and body-related archival objects. Drawing from everyday artifacts, the project questions representations of femininity and embodied memory. Through experimentation with printed matter, it examines notions of trace, ephemerality, and the reclamation of the body.

 

Name : Marianne Charlebois, Corine Dufresne-Deslières, Faustine Escoffier et Stéphanie Nuckle

Country : Canada (Quebec)

Title : Nos mues communes

Four interdisciplinary artist-researchers explore eco-sensitive processes in printmaking and photography, reinventing our relationship to permanence. Nos mues communes, a collective exhibition at IMPACT13, presents monotypes, prints, and plant-based screen prints, bringing organic matter into dialogue with artistic experimentation to question our connection to the living world.

 

Name : Patricia Langevin

Country : Canada (Quebec)

Title : Tipelimitishun/Liberté

Tipelimitishun/Liberté is an immersive installation exploring First Nations healing. Between memory and transmission, screen prints and blown glass embody wounds and resilience. Through projected light, visitors reveal the stories and contribute to their release, embedding the work in a sensitive approach to care and intergenerational dialogue.

 

Name : Sirkku Ketola

Courntry : Finland

Title : A Body Called

Sirkku Ketola explores time and repetition through visual poetry and meditative performances. A Body Called Paula embodies transcendence and humanity within the universe, through an evolving, fragile, and demanding installation. Gesture, screen printing, and rhythm merge into a sensory machine, revealing the elemental threads of life.

Name: Pohanna Pyne Feinberg

Country : Canada (Quebec)

Title : Atmodas iela 9

Observations and experimentations are shared that emerged during an artist residency in July 2025, at SERDE art centre in Aizpute, Latvia. The project focused on making inks with foraged medicinal plants that were historically used as remedies by my ancestors from this region. Breath is an integral medium for the printing process to convene with memories transmitted by the plants’ colors. 

 

Name : Amber Robles-Gordon

Country : USA

Title : Sacred Co-Evolution: Undoing the Echainment of Being(s)

Amber Robles-Gordon reimagines the Western Great Chain of Being through large-scale collage, proposing a decolonial cosmology rooted in coevolution. Her work honors marginalized communities, sacred knowledge, and interdependent ecologies. These visual narratives explore liberation and regeneration, challenging dominant hierarchies and inviting viewers into a sacred, interconnected way of becoming.

 

Name : Laurel McKenzie

Country : Australie

Title : Accoutre

Accoutre is an installation of 100 miniature calico dresses that interrogates the representation of the female body through a contemporary feminist lens. Printed with fragments of nudes drawn from art history, these dresses reflect a century of fashion and evoke the memory of textile craftsmanship—hovering between absence, identity, and incompletion.

 

Name : artists for 14^e edition : Fadi Almelhem (Liban) Elmyna Bouchard (Canada, Quebec) Kathryn Delaney (Canada, Quebec) Nina Kreis (Brasil) Étienne Tremblay-Tardif (Canada, Quebec) Ericka Walker (Canada, Nova Scotia) Tomasz Winiarski (Poland)

Title : various

The artists featured at the former train station during the 14th Biennale international d’estampe contenmporaine de Trois-Rivières were selected in connection with the themes of the IMPACT13 conference.