Call for Submissions!

OPEN OCTOBER 1 - NOVEMBER 17, 2024

(Paid Opportunity)

The call is open for submissions to the Marion Nicoll Gallery for the Winter 2025 semester!

Apply as a solo artist or as a group to see your work displayed in one of two galleries operated by the MNG: the LRT and Main spaces:

Applicants with smaller scale 2D or 3D work are best suited to the LRT. Space. The Main Space is best for larger works and installations which engage with the gallery in inventive ways.

Gallery layouts on the MNG are available on the MNG website.

Submissions are open to current students and alumni of up to 3 years. Exhibitions will be evaluated by an anonymous selection committee and successful applicants will be paid according to current CARFAC rates.

Deadline: November 17, 2024 11:59pm

Please direct any questions about the submissions process to the MNG Coordinator Bex at mng.sa@auarts.ca

Supported by RBC Future Launch

Emergence
by Brace Grandjambe, Leo Derzaph, and Kendra Sleeman.

11.10.2023 - 12/08/2023

Opening Reception November 10th at 7pm

01 - Exhibition Statement

Emergence is a showcase of multiple skills and ways of engaging with the world. We seek to bring understanding to the areas we focus on in our works and to bring questions that resonate deeply with our practices to the forefront. Our experiences inform how we create work and navigate the world around us. We invite you to engage with the questions asked and see what kind of conversation can emerge.

02 - Artist Statement

Brace Grandjambe
I am an Indigenous woman from Fort Mckay, a reserve in Northern Alberta. Being a post-conceptual artist, I use colors that speak to me, or what I associate the concept with. Identity, Indigeneity, and mental health are important to me. By discussing longstanding issues involving Indigenous people, I am allowing others to hear my voice, and encourage them to use their voice. Community has also been a focus in my recent ideas/work, and I enjoy creating art with the youth within my community. Generational trauma, MMIW, and racism continue to be issues to this day, and I discuss and work through my experiences of being a Native woman and living in a large city. I work with materials that reflect myself and what I am trying to convey. It is important to use materials specific to my culture and lifestyle so I can start Indigenizing the world around me. Floral patterned fabrics, ribbons, moose hide, and seed beads are some examples of materials that are often used when creating art in my culture. I am starting to work with materials that are tactile, as it is important that the viewer can touch the piece of art. By engaging with the piece through touch, one can appreciate the work in a new way, along with seeing the artwork in front of them. Organic shapes are important to me and are often found in my art when I create environments and natural objects. The curvy, flowy lines are reminiscent of wind and water, natural elements that are important in Indigenous culture. I have been more aware of myself as an Indigenous artist since moving to a large city, and the experimentation of various materials and processes is a large contribution for the deciding factor of finding my place as an Indigenous artist in the art world.

Leo Derzaph

My practice is based on personal experience, and the expression of pain one is meant to keep hidden. I make work from the perspective of a transmasculine artist facing transphobia daily, and the response my mental health has to these events. My work deals with dysphoria, dissociation, and how they can respond to each other. It is visceral to view, uncomfortable to engage with, and painful to create. My work is born from discomfort. It should invoke as much.

Kendra Sleeman
Kendra is a forth year ceramic student at the Alberta University of the Arts. Ceramics allowed Kendra to discover how to view art in a three-dimensional aspect, while combining two-dimensional features, like, illustrations onto the surface design of these forms. Ceramics provides a challenge, keeping Kendra on her toes, not to hold onto every piece, as it could break at any stage of the creating process. Kendra is currently exploring German folk art and the form of steins. Delving into the history of both and combing them, bringing her own message and story into the pieces.