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Penticton Art Gallery
Penticton Art Gallery
About
Then & Now
Annual Reports & AGM
Arts Letter
Contact
Job Opportunities
Exhibitions
Current Exhibitions
Upcoming Exhibitions
Guided Tours
Archives
Programming
Events Calendar
Kid's Programming
Adult Programming
Programming Guide
Rentals
Facility Rentals
Annual Events
Auctions
PAG Film Series
Mini Mural Project
Ignite the Arts Festival
Loving Mugs & Soup Bowls
Under $500
Young Collectors Club
Collections
Permanent Collection
Artist Database & Resources
Tait Art Library
Support
Memberships
Donations
Shop
About the Gift Shop
Shop Online
0
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DONATE
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Shop Online Printmaking Without a Press
Printmaking without a press.png Image 1 of
Printmaking without a press.png
Printmaking without a press.png

Printmaking Without a Press

$175.00

Explore the fundamentals of printmaking in this hands-on, two-day workshop designed for all skill levels. Try your hand at screen printing, monotype, linocut carving, and gel plate printing. Discover which techniques speak to you as you build your creative confidence through guided experimentation. Ages 19+, materials provided, no experience necessary.

  • Lino Cut Printing - July 12, 13

  • Monotype Printing - July 19, 20

  • Basic Silkscreen Printing - Aug 9, 10

  • All Saturdays & Sundays, 1:30 - 4:00 pm

$155 per class // members

$175 per class // non-members  

Taught by Maggie Chow

Session:
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Add To Cart

Explore the fundamentals of printmaking in this hands-on, two-day workshop designed for all skill levels. Try your hand at screen printing, monotype, linocut carving, and gel plate printing. Discover which techniques speak to you as you build your creative confidence through guided experimentation. Ages 19+, materials provided, no experience necessary.

  • Lino Cut Printing - July 12, 13

  • Monotype Printing - July 19, 20

  • Basic Silkscreen Printing - Aug 9, 10

  • All Saturdays & Sundays, 1:30 - 4:00 pm

$155 per class // members

$175 per class // non-members  

Taught by Maggie Chow

Explore the fundamentals of printmaking in this hands-on, two-day workshop designed for all skill levels. Try your hand at screen printing, monotype, linocut carving, and gel plate printing. Discover which techniques speak to you as you build your creative confidence through guided experimentation. Ages 19+, materials provided, no experience necessary.

  • Lino Cut Printing - July 12, 13

  • Monotype Printing - July 19, 20

  • Basic Silkscreen Printing - Aug 9, 10

  • All Saturdays & Sundays, 1:30 - 4:00 pm

$155 per class // members

$175 per class // non-members  

Taught by Maggie Chow


Project Gallery: Paradox of Power

David Spriggs’ large-scale sculptural installation, The Paradox of Power, is an investigation of rapid change, deconstruction and symbolic revolution. In the same vain as the Futurists, Spriggs is interested in the representation of time and motion in the sculptural form. Using layering as a device, Spriggs has developed “an environment that breaks free from the laws that constrict both two and three-dimensional materials, bringing together painting, drawing, photography, digital-modeling, and sculpture, to create a spatial topographic system”… Spriggs has installed of a life-size model of a stratified bull, cut in two, with each end displayed in two adjacent cases, each a sublime eight feet high and ten feet wide. Spriggs’ investigation of the multiplicity of time and its relationship to the sculptural form is here transcribed in his an analysis of the bull as a semiotic agent. By literally deconstructing the bull through a layering of transparent stratum, the mythologized ‘power’ the bull represents is “fragmented, and reconstructed in an alternate reality.”The bull is rendered immobile, flipped upside down, legs in the air. The form is further transformed in the plastic anaglyphic binary colours of each half — a paradox of red and blue. This binary references not only the deconstructive possibilities of vision itself, but also an antithesis of power in the corporeality of the bull contained, divided and sacrificially immobilized.. Like Muybridge’s running horse, Spriggs uses the representation of serialized time to suggest a paradoxical ordering of symbolic power.

Title: Paradox of Power
Artist: David Spriggs
Size: 104  x 36 x 124 inches / 264 x 91 x 315 cm
Materials: Painted layered transparencies in display case

About David Spriggs

David Spriggs is an internationally acclaimed artist best known for his groundbreaking large-scale installations that blur the boundaries between two-dimensional painting and three-dimensional sculpture. At the core of his practice is a technique he pioneered in 1999 called Stratachrome. This process involves painting images on layers of transparent film and stacking them in precise sequences to create immersive, three-dimensional images that appear to float in space. His works are both sculptural and painterly, ephemeral and monumental.

Born in Manchester, England in 1978, Spriggs moved to Canada in 1992 and is currently based on Vancouver Island, British Columbia. He holds a Master of Fine Arts from Concordia University in Montreal and a Bachelor of Fine Arts from Emily Carr University in Vancouver. His education includes residencies at Central St. Martin’s in London and Bauhaus University in Weimar.

Spriggs has exhibited globally at major museums, galleries, and biennales, including the Musée des Arts Décoratifs at the Louvre (Paris), Oku-Noto Triennale (Japan), Sharjah Biennale (UAE), Noor Riyadh (Saudi Arabia), and the Powerlong Museum (Shanghai). His work is included in significant collections such as the Montreal Museum of Fine Arts and the National Museum of Fine Arts of Quebec, and is permanently installed in landmark buildings worldwide.

In 2024, Spriggs was awarded the prestigious Académie des Beaux-Arts and Fondation Jacques Rougerie Award for Art in Paris. His work Red Gravity was also featured as cover art for Peter Gabriel’s song Panopticon, further cementing his influence in contemporary art and culture.

“Spriggs’ work invites us to see-with what is not actually there and to move-with the constellation of what we’re beginning to see. Moving-with perception composing itself, we experience the dynamics of an object becoming spacetime. We no longer simply observe – we are moved by the experience of watching, and we move with it. We note the contours but feel the colors. We see the lines but feel the rhythm. We see-with the becoming-work. This is the activity of plastic dynamism expressing itself through the emergence of a body-image constellation.”

Erin Manning. ‘Relationscapes: Movement, Art, Philosophy’ MIT Press

Artist David Spriggs with Piece ‘Red Wave’, 2023

VISIT US

199 Marina Way
Penticton
British Columbia, Canada
V2A 1H5

Hours
Tuesday - Friday: 10am – 5pm
Saturday: 11am – 4pm
Sunday, Monday: closed

(250)-493-2928
inquiries@pentictonartgallery.com
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The Penticton Art Gallery acknowledges that the land on which we gather is the unceded, traditional territory of the syilx (Okanagan) Peoples.