Archives 1983 ()

30 November - 18 December 1983

9 - 27 November 1983

Lorraine Gilbert studied biology and forestry before turning to photography. Since 1978, she has been studying at the Banff Centre and already has an impressive amount of work to her credit.
Lorraine Gilbert almost always photographs at night. In the penetrating glare of the flashbulb, a reconstructed reality appears. Bushes take on the appearance of skeletons; flowers and plants stand out against architectural backdrops; objects from everyday life-table,umbrellas, ornaments-loom out of the night, transformed by the flash of the camera. The bluish tones of artificial light  are mixed with the  yellows and oranges of natural light. Lorraine Gilbert has no need for realism: she explores a world alive with images that would otherwise remain invisible to the naked eye.

October 1983

“Altered Seascapes” , two suites of large format photo etchings and mixed media prints combining cyanotype, drawing and photo etching. The first suite portrays the isolation of commonplace objects in a static background to symbolize analytical and objective thought process. The second suite places the objects into an environment that represents the emotional and subjective mechanisms we use in the act of cognition.
These prints were printed by hand by the artist at Open Studio in Toronto. Each edition of prints consists of seven prints with three artist’s proofs totaling fourteen images in all.
My thanks to the Ontario Arts Council for their support.
Toronto

12 - 30 September 1983

The photographs in this project “Adriatic Sea” not only deal with the social and natural Mediterranean landscape but also show a concern for the different trends and genres of photography.
My approach ranges from formal landscapes and portraits to life scenes that belong to secret documentation.
Belgrade, Yugoslavia

2 - 27 May 1983

The photographs in the exhibit were made during late April and May 1982 in Northern Quebec. I was working with the Manitoba Puppet Theatre, as one of four puppeteers doing artists in schools workshops as  a cultural exchange project with the province of Quebec.
The Ungava Project took the MPT to three communities: Inukjuak, on the Eastern shore of Hudson’s Bay, Sugluk, in a fiord off Hudson Strait and Payne Bay (Kangirsuk) on the Payne River, a few miles inland from Ungava Bay.
During the course of five weeks the MPT and its 1700 lbs. of equipment and materials traveled 1000 miles around the Ungava Peninsula by Twin Otter.
We worked with 1200 children Kindergarten to Grade , listening to their stories, helping them to construct puppets and props, rehearse plays and perform them for their class mates.
As a puppeteer, my schedule was demanding but I was able to photograph on days off and intermittedly during workshops. During these times, I concentrated on the land around these communities, the children and their puppets and their activities outside of school. I feel fortunate to have had this opportunity to work in the company of such congenial, well organized and hard working fellow artists, and opportunity which gave me access to the communities in a way not possible as a tourist.
The exhibition consists of thirty colour photographs 14″ x 14″ image size in three groups (according to community) and is accompanied by  avideo tape made in Inukjuak by two Inuit film makers stationed in Sugluk. The tape, 1/2 hour long, shows very beautifully and accurately the puppet making and performances of one of the groups.
Winnipeg