New Member Artist: Michael Ashley’s Four Dimensions


“Ambiguity thrills me as I explore the dominance of the visual and the seductiveness of representation.

My interest in a holistic approach and in avoiding being typecast has led me to intermedia. This itself is a practice that occupies an ambiguous conceptual space within the art world and art history. My experience with intermedia has been more in the area of customized computer software, especially the use of the development environments called Pure Data and Processing.

However, I am more and more intrigued by what’s become known as physical computing, which integrates motors and sensors with the software. I look forward to expanding my capabilities into this realm of hardware”.


“The two works in my portfolio that most completely encompass these holistic concerns and interests are Souvenir 2 – Arboretum Memorials  and Dualities . Both are installations, and thus engage the usual three dimensions of the physical world, but they also have duration, thereby engaging the fourth dimension of time. Both also engage sight and hearing while their physical dimensions bring a haptic element to the experience.”

More on Michael Ashley here.


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Lisa Creskey: new member artist at Blink Gallery

Rookery  at Espace Pierre Debain_2014

Welcome Lisa Creskey

Lisa Creskey is an artist from Chelsea, Quebec exploring the sculptural painting and installation potential of the ceramic medium.

Her primary drive as a visual artist has been that of story telling from a personal point of departure or connection. Through her work, Lisa attempts to question and destabilize her own understanding of personal and collective identity. She is drawn to historical documents and artifacts as a place to initiate visual exploration.

Lisa was selected for Craft Ontario ’13 – The Ontario Crafts Council Biennial Juried Member’s Exhibition in Toronto. In early 2014, she received a prize at the Concordia Continental Ceramics Competition 5 in St. Paul, Minnesota. She was also a finalist and exhibitor for the 4th Biennial Concordia Continental Ceramics Competition in 2012. Her work was exhibited at the Kaohsiung Fine Arts Museum in Southern Taiwan where she was a finalist in the 2012 Taiwan Ceramics Biennale, and the work is now part of the permanent collection of the New Taipei City Yingge Ceramics Museum.

Lisa Creskey_Aylmer Yacht Club_2014

Lisa is represented by LA Pai Gallery in Ottawa.

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martin golland Lunda Hall

Artist Deborah Margo curates something, leading to something else….

Curator’s Statement and information about the artists:

Something Leads to Something Else considers how artists conceptualize their research, of how their work comes to be.  It is not a definitive account, but rather allowing room for different approaches, across different media, including collage, drawing, photography, sculpture, ceramics, poetry and video.


Martin Golland‘s paintings describe a fictional meeting point between built environments and the natural world, resulting in imaginary architectural spaces.  At Blink, his multi-media collages have been gleaned from a large archive of material he uses to establish the subjects and multifaceted spaces eventually found in his paintings.

Lynda Hall is also concerned with culture and nature, shown in photographs that are unflinching and unsentimental.  There is a shifting interplay in the relationships she establishes between multiple images of animals, shown in two and three-dimensional situations.  What she evokes fluctuates, not unlike the roll of a dice.

Lise Rochefort is a freelance writer, poet, parent and researcher, as well as an Associate Poetry Editor for Arc Poetry Magazine.   She has created a new, experimental work for the exhibition combining poetry and video.

Hilde Schreier’s work encompasses a variety of media. Her paintings and drawings are concerned with the human condition, whereas her weavings are richly coloured, textured embodiments of imagined landscapes.  Here, a meticulous multi-media drawing undertakes to describe a complex system destined to be a large weaving.

Finally, on loan from an Ottawa clay studio, are a series of ceramic glaze samples, promising endless colour combinations and interplays.

Exhibition dates:

First week: Friday, September 26 through Sunday, September 28 from 12 to 5 pm

Second week: Friday, October 3 through Sunday, October 5 from 12 to 5 pm.

Please join us for the exhibition reception on Thursday, October 2 from 6-9 pm at Blink

For more information or inquiries, please contact the exhibition curator, Deborah Margo at or 613-791-8345

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ECHO: Tami Galili Ellis and Erin Robertson, Sept. 19-21, vernissage Ottawa’s Nuit Blanche

Artists’ Statement:

echo noun \ˈe-(ˌ)kō  Something that is similar to something that happened or existed before (such as a feature or quality) that repeats or resembles something else.  merriamwebster  

Echo  drawing/installation at Blink

Tami Galili Ellis and Erin Robertson bounce the elements of form, line space and colour off the walls of Blink Gallery in their collaborative exhibit Echo.

Blink Member Tami Galili Ellis explores memory and conflict through repetition and order. Her sequential drawings are part of a personal journal that hold glimpses into her inner dialogue. Galili Ellis is interested in drawing for its raw and organic, fluid and unforeseen qualities. Line to her is a language whose thick, thin, brutal and broken aspects are part of its vocabulary. Galili Ellis uses it to create tension and to blur the relation between the imaginary and real, to fade the past into the present.

Erin Robertson’s interest in the nature of materials and the artists relationship to alchemy is reflected in her mixed media installation. Robertson adapts language from historical painting to a contemporary lens in an interplay of design elements and imagery exploring painting in three dimension.


Come share the echoes.

Vernissage Saturday Sept. 20 evening, in conjunction with Nuit Blanche festivities. Normal gallery hours: Friday, Saturday, Sunday 12-5PM

echo (n.) Look up echo at Dictionary.commid-14c., “sound repeated by reflection,” from Latin echo, from Greek echo, personified in classical mythology as a mountain nymph who pined away for love of Narcissus until nothing was left of her but her voice, from or related to ekhe “sound,” ekhein “to resound,” from PIE *wagh-io-, extended form of root *(s)wagh- “to resound” (cognates: Sanskrit vagnuh “sound,” Latin vagire “to cry,” Old English swogan “to resound”). Related: Echoes. Echo chamber attested from 1937.echo (v.) Look up echo at Dictionary.com1550s (intrans.), c.1600 (trans.), from echo (n.). Related: Echoed; echoing. (etymology online )

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Barbara Staulus: Between Here and Then

Barbara Staulus_still from Mystery Train_2014_video

Between Here and Then is an exhibition that explores the relationship between the railway and imaging technology. Incorporating photography, video and sculpture, the exhibition presents visions of real and imagined train travel, focusing on the mystery and allure of moving through time and space.
Barbara Staulus is an artist who grew up in Ottawa and now lives in Toronto. She completed a BFA in Studio Art at Concordia University and holds an MA in Art History from York University. Her work has been exhibited at the Gallery 44 Member’s Gallery, as part of the Contact Photography Festival 2008 and 2012, and screened at the Toronto Urban Film Festival.
Vernissage Thursday Sept. 11, 6-9 PM
Gallery hours:  Friday Saturday Sunday 12-5
Come and meet the artist!  Blink is one of the few places you can speak with the artist on site…
Barbara Staulus_Tilted Cab_2014_C-print


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Karina Kraenzle: ENCHANTED

New work, new strategies…

DSCF3253 copy


September 5 – 7

12 – 5 pm


Thursday, Sept. 4, 


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JORDAN SEAL: Visions Beyond Heaven

Artists’s statement:  Visions Beyond Heaven is a reunion of artistic forms. Visual, music, dance, poetry together.  To find what is crouched down in the deepest hollow. That which is extraneous to life’s most sacred outer reaches. A realm where luminous clay surges and crashes. Where thought is matter.Jordan Seal, Ozilate Lall, Acryllic paint- india ink - paper


Ottawa is where Jordan breathes. Jordan is very idealistic and has written two manifestos. He often collaborates with the band Shahman in the music scene. He works with the Robert Kananaj Gallery in Toronto to extend his ideals within a gallery space. He enjoys foraging and ruminating on God.    e-inviteAugust 29-31    Opening/Vernissage Aug 28, 6-9 PM

Jordan Seal,Yulhm Orgla, india ink - acyllic paint- paper





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Performing Ghosts

This spot is reserved for review of thesis presentation, exhibit and video link.

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Genevieve Cloutier: Performing Ghosts

gcloutierredprocess (1)

Artist’s Statement:

As a hauntological artist pursuing graduate work in education, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. I employ the arts-based educational research methodology of a/r/tography, the intersection of autobiography and art-making, as I utilize diverse art forms to find that ghosts reside amongst spaces of liminality. A/r/tography as métissage positions my inquiry in the difficult spaces of the in-between: Where ghosts come into sight before they vanish again. I work through the Derridean notion of Hauntology as I look for home (a work in progress). Drawing from these philosophical notions, and supported by the methodology of a/r/tography, I draw on works which blur the boundaries of self and other, past and present, because within the scope of narratives, disjunctive temporalities remind us that presence is constantly being haunted by the past. These haunted intertextual landscapes require us to walk through and around; diasporas of artifacts, texts and spectres follow. And within a system of impacting forces, I reflect on the notion that my identity, and that of my ancestors, was formed in motion.


This exhibit is part of an ongoing project concerning my silenced lineage; an ongoing process-based deconstruction of various intertextual components, remnants, traces, unfolding still.

gcloutier controlled them

Geneviève Cloutier received a bachelor of Media Arts from Emily Carr University of Art and Design. She is currently an occasional english and art teacher, and a teaching assistant at the University of Ottawa where she will be starting a PhD in the fall. Her arts-based research interests include methodologies, video, spatiality, intertextuality, and language.

Performing ghosts is the second instalment of my Masters thesis project; an ongoing project concerning my silenced lineage; a process-based deconstruction of various intertextual components, remnants, traces, unfolding still. My thesis (an essay and exhibit catalogue) about the first instalment of the show will be available to the public at Blink gallery between August 22-24.

Cloutier’s work can be seen at Blink Gallery Friday Saturday and Sunday, August 22-24, 12-5 PM. The artist will be present.

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Residency Documents

Video link to Cynthia O’Brien’s performance will be embedded here soon.


Statements and Reviews by Blog Administrator Barbara Cuerden:

Coming to Terms, a performance by Cynthia O’Brien at Blink Gallery, August 10, 2014

Over the first week of the First Blink Gallery Residency, clay artist Cynthia O’Brien created hundreds of unfired white clay flowers, on site at Header House in Major’s Hill Park. Confined in the gallery space, the flowers had dried into white bones, ready to be carried outside on specimen trays.

Onlookers, witnesses and passers-by were drawn in to the rhythmic, sombre ritual where Cynthia set down the clay flowers into an uncovered grave-sized plot of earth on the lawn outside of the gallery. The artist asked people to contribute to the work by making their own flowers out of soft balls of clay, which she provided. O’Brien suggested they think of a person or dream they had lost and that their flower might symbolize, or alternately, a new beginning they had hopes would grow. There was an immediate engagement in the project. It was very moving to see strangers bend and gently place their flowers in the grave. Others who attended could quietly wonder whether they were burying an old loss or planting a new beginning.

Finally, the heavy darkness of the uncovered earth was transformed into a mass frothy with lightness and the fragility of white flowers, like a little Hallelujah against the dark.

As Cynthia silently replaced the sod, covering the flowers, and closing the grave, she was overcome by her own memories and coming-to-terms. Afterwards, at the gallery ‘reception’ she commented on her surprise as she first removed the sod just prior to the performance, that the earth was teeming with life, reminding us of the contradictions inherent in a dark open grave inhabited by life.

Urban Harvest, Last Act

After a few days of being at Blink, the garbage took over. It overwhelmed me and was not something I could control by prettying it up.  I could not not see that the ducks who I encountered daily, were standing in a shingle of garbage along the edge of our once beautiful river. I couldn’t just collect the ‘good’ garbage.

So, I listened to what the garbage and the ducks were telling me – Clean It Up . Deal with it and put it to rest. Even though it can never go back to its maker, as it can’t disintegrate like our own human bodies, and go back to earth- it’s here to be kicked about and shat upon forever, we must find a way to put it to rest. What we create spills over, leaks out and refuses to go away. It is telling us something we don’t want to hear, until it gets told.

So, each day I went down to the same part of the river and collected another bag of garbage that had been washed up.

Our final installation looked like this:

residency Aug 16

residency Aug 16 2 residency Aug 16 3 harvest Aug 16

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