Honoring Ghosts & The Nature of Grief | Amberlie Perkin

Amberlie Perkin’s art practice involves listening to ghosts.  Drawn to the interplay of grief and ecology, her thesis project Honoring Ghosts & The Nature of Grief explores wounded ecologies in relation to both the human body and our non-human kin in this time of environmental degradation and accelerated extinctions. Perkin’s artwork examines how curious and embodied engagement with the natural environment can provide a visual and material language to articulate the complex and often abstract emotions of grieving.  Her process enacts the materiality of mourning and metamorphosis, while exploring the regenerative potential of death to animate new growth in the natural world and our lives.  Perkin’s installations are an invitation to make metaphoric connections to nature, to feel, to remember, and to commune with ghosts.

This yearlong thesis project culminated in her final exhibition which included:

Listen Now to the Quickening of Ghosts Who Whisper Rebuild, Rebuild

Tracing Your Ghost II

Lichen Collagraph Print Series

Honoring Ghosts & The Nature of Grief

Thesis Installaion. Sculptural works: Listen Now to the Quickening of Ghosts Who Whisper Rebuild, Rebuild, and  Tracing Your Ghost II.

Tracing Your Ghost II. 2020. Thesis Installation. Sculptural works created with relief prints of fragmented tree stumps, ponderosa pine bark & lichen on rice paper.

Lichen Collagraph Print Series, 2020. Thesis Installation. Artworks on either end of the triptych are 2 collagraph prints layered together.

Listen Now to The Quickening of Ghosts Who Whisper   Rebuild, Rebuild

Listen Now to the Quickening of Ghosts Who Whisper Rebuild, Rebuild. 2020. Thesis Installation. Sculptural works, variable dimensions. Chicken wire, paper mache, acrylic paint, and relief prints of tree stumps, pine bark & lichen on rice paper.

Tracing Your Ghost II


Amberlie Perkin is an interdisciplinary artist and art educator.  Her artwork investigates place, history, grief, and wounded ecologies.  Perkin’s diverse practice is deeply rooted in the embodied experience of engaging with nature and physically exploring sites which have been altered, often detrimentally, by human industrial interventions.  She is drawn to abandoned or wounded landscapes, searching for their histories, remnants, and ghosts. Her practice celebrates kinship while offering a poetic lamentation of our complex relationship with the natural environment.

Amberlie Perkin holds a Bachelor of Visual Arts from Emily Carr University of Art & Design (2010), a Bachelor of Education from Simon Fraser University (2011), and a Master of Visual Arts Degree from Emily Carr University of Art & Design (2020).  She has exhibited both locally and internationally.


IG: @amberlieperkinart

BACKTALK I Annie Canto and Nura Ali

BACKTALK Show Title and Zines
Posters from Letterpress Teach-in
Annie Canto, Resister Disco: Funky Moves for Salty Mixed Nuts
Nura Ali, The Space Between Embraces
Nura Ali, I'm Too Busy Sharpening My Oyster Knife Detail
Rebecca Bair, Inside Out I Outside In
Canto and Ali, Handbooks 1 + 2
Annie Canto, Pamphlets from The Centre for Polite Dissent: How to Talk to Your Students of Colour About Diversity Work

BACKTALK  was curated by Annie Canto and Nura Ali including their own work as well as pieces from Rebecca Bair, and a collaborative work by Aaniya Asrani and Reyhan Yazdani. The show featured a constellation of posters from their Letterpress Teach-in, an event during which Ali and Canto took over a wing of the Emily Carr print studio in order to discuss the ideas of activists, artists, and theorists who had shaped their understanding of institutional racism, coalition, and racial capitalism. The two worked with student groups to create prints that gave image and texture to personal experiences of racialization within arts institutions. 

BACKTALK was two-sided. It was an inside joke. The viewer could engage with the different texts through like experience. They could participate with the understanding of whispered solidarity. On the other hand, the viewer could be introduced to a multiplicity of unknown experiences processed by students or colleagues of colour in the halls they inhabited. The conceptual backing for this kind of socio-political critique came from a long lineage of student activist assertion of voice in post-secondary education. Extending from protest movements from the civil rights era, BACKTALK morphed institutional acknowledgements and phrases to uncover the still-dominant reign of white supremacist resource allocation that continues to create a culture of interpersonal biases left unanalyzed in art schools and spaces. 

BACKTALK hoped to unearth said biases and question leadership while making visible the personal accounts of discrimination within our institution.The exhibition made public a student-led culture of dissent, formed in solidarity, despite the persistent lack of attention to oppressive cultural hegemony at our school. It attempted to disrupt patterns of diversity commodification by spelling it out in textworks and through thoughtful representation as a peer organized curatorial project.

Taryn Sheppard

A_Total Fabrication

Taryn Sheppard’s work explores architecture and the perception of space in the context of digital culture. She is interested in the subliminal influence of the digital on our perception of space and uses digital-to-analog processes to explore this relationship.  Her work includes oil paintings based on computer rendering, robotic drawing, ceramic printing and other digital fabrication techniques.  

Taryn Sheppard’s thesis work ‘A_Total Fabrication’ explores the deeper meaning of the formal language of architecture and its’ effect on the perception of our built environment.  This installation looks at the visual language of postmodern institutional architecture and recontextualizes elements like volume, texture, and material into a surreal ‘room’. These architectural elements have been put through a process of mediation from digital to analog which highlights the faultiness of memory and creates questions about our perception of reality in the context of digital culture. 

The installation is composed of three elements:

  • ‘A Total Fabrication’ (Painting), 80″x48″, Oil on Wood Panel, 2020. 
  • ‘Glass Blocks’, Approx. 10’x10’x8′, Ink on Vellum, 2020. 
  • ‘Pink Granite’, Approx. 12’x20′, Found Nylon Carpet, Acrylic.

Other Works


Below: Exhibition of work as part of ‘KAIROS’ Interim Graduate show at Micheal O’Brien Exhibition Commons, September 2019.

  1. A Space Modelled From Memory One, 48″ x 48″ Oil on Wood Panel, 2019.
  2. A Space Modelled From Memory Two, 48″ x 48″ Oil on Wood Panel, 2019.
  3. A Space Modelled From Memory Three, 60″ x 60″ Oil on Wood Panel, 2019.
  4. Porcelain House, 3D Printed Porcelain, 2019.


Below Left: ‘Hollow’, 36″ x 48″, Oil on Wood Panel, 2019.

Below Right: ‘Threshold’, 80″ x 58″, Watercolour Ink on Paper, 2019.


Taryn Sheppard is a Vancouver based artist and architect.  She is a graduate of the University of Toronto (Master in Architecture, ‘10) and Nova Scotia College of Art and Design University (Bachelor of Fine Arts, ‘05). 

She is a cofounder of Woodford Sheppard Architecture based in her home province of Newfoundland & Labrador, who have completed numerous award winning projects in the coastal Atlantic region and have been published in international magazines including Dezeen and The Globe and Mail Arts. 

Taryn has contributed critical writing on the built environment to a variety of publications including Canadian Architect, Riddle Fence Arts Journal and The Scope Arts Magazine.  She has been a guest lecturer at a variety of conferences and universities and an advising member on a variety of boards and associations in Canada, including the Canada Council For the Arts, the Newfoundland & Labrador Association of Architects and the City of St. John’s Heritage Advisory Board. 

Taryn is currently establishing her studio practice in Vancouver with a research focus on architecture and digital culture, and is conducting research in digital fabrication with the Material Matters Research Centre at ECUAD.


My work is defined by deliberate dissidence to the dissonance of corporate warfare.

My work uses objects in a satirical way to mock the way we behave.
My work is akin to a kind of reaction, nervous twitch, a rebellion, a reasoning, an offering.
My work is a decisive device for dismantling dogma.
My work is a kin to a kind of social disobedience.
My work uses humour as a social sanctum against inflexible behaviour.

Tourist | Ben Compton

Tourist (2019) is a lecture exploring race, music, and public space. Sitting at a table equipped with a microphone, projector, and computer, Compton shares his memory of attending a community dance party in Cambridge, Massachusetts. A live feed of his desktop is projected on the wall in front of him and his voice is amplified through speakers. Using video clips, websites, maps, and playlists, Compton revisits elements of the dance party in virtual fragments. Over time, his personal narrative becomes a vehicle to interrogate the commodification of hip hop and the complex ways in which whiteness allows for cultural mobility in both physical and digital space.


Rebecca Bair


PRESSED – RELEASED (2020) investigates the aesthetic, technical and symbolic differences between two types of print media techniques. These techniques and their processes are suggested through their visual representation, and insinuated through their naming.

On the left is PRESSED (2020) – a monotype print.

On the right is RELEASED (2020) – a digital photograph.

This project was awarded the Opus Art Supplies Graduation Award (MFA), and received an Honourable Mention for ECU Graduation Award for Anti-Racism and Social Justice in Visual Arts.

For We Are the Children of The Sun is a thesis project which aims to utilize abstraction and non-figuration as methods of representation for Black Women on Turtle Island. Through a personal contemplation of identity and ancestry, symbols such as hair and the Sun function as connectors to the plurality of Blackness. Bair examines and refutes what it means to be ‘Canadian’, and turns to a diasporic community which extends past the borders of land. Her objective is to re-imagine representation for the Black Woman, and to center resilience and community as primary concerns through a collaboration with the Sun. Sky Light is the most recent visualization of this pursuit. 

SKY LIGHT (2020)

This content makes up a digital maquette of the proposed final piece.

Figments, Filaments, and Pigments | Emma H. Baldwin



A body of work that is moving away from paper, watercolour, and graduate school and into the personal, three dimensional, and the even more breakable.

Milking in the Bones

Fine Rise

A Second Child

Egg Eye Cage

A First Child

The Ecosphere– A Fantastical Exploration

The Meat People | Jan Appel

Artist Statement

Through the medium of paint and collage aesthetics, Jan Appel investigates thematic questions on daydreaming, the imagination and life itself. The Meat People is an amalgamation of world inspired by myths as well as mythological figures depicting imagined moments and narratives of fictional scenarios. Through materiality, storytelling, process and world building, Appel navigates his relationship with mortality, impermanence and what it means to live within and through human experience.

Learning to See the Unknown | Hayley Carruthers

Learning to See the Unknown: Drawing Out the Strange takes a speculative approach to reflecting on subjective experiences of mental imagery, perception, and other neural phenomena. Entangled with ways of understanding from scientific knowledge practices within neuroscience the work engages with histories of scientific renderings that visualize the invisible.  In her process, Carruthers embraces ambiguity and what can’t be seen –the unknown– as a field of generative inquiry.

Compelled by the wonder and strangeness in her experience of being, Carruthers draws upon her own internal space to pull out images from memory and give them a material presence while not wanting them to become familiar –to let them exist in their strangeness. She uses drawing as a substitute microscope; a process to perceive the intangible internal moments of her reality.

IG: @hayleycarruthers

This project was awarded the Mary Plumb Blade Award