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

Unknown Distance | Emma Burry

Artist Statement

The horizon is a visual example of a distance that is physically unreachable. I define the horizon is an in-between space that we can perceive, but never physically reach. I believe that this is where longing resides. Longing for people, places, things, or communities that are somehow lost or unreachable. That is where my practice lives, within the distance between physical and metaphorical, interpersonal and introspective. Through labour and craft I explore longing for people, places, and communities that are out of reach.

Unknown Distance |
Project Statement

Unknown Distance was a project created during the summer of 2019. Between my two years at Emily Carr University I was thinking a lot about distance and time and their relationship with longing.
Through the use of my body I wanted to explore the repetitive nature of longing; how your mind drifts between yourself (reality) and the longed for (memory). I decided to see if the metaphorical weight of that pacing could be seen through the layering of a physical action (in this case walking) across shipping skids.
The wood creaked, cracked, snapped and bowed under my feet. The paint and wood recording all the passes as I walked back and forth. The continued tension and accumulation of “memory” becoming too much for it to handle. Unknown Distance refers to both the unknown distances the skids traversed before I found them and also the distances I’ve been exploring both metaphorically and physically through my own experiences of longing.

Artist Bio

Emma Burry is an interdisciplinary artist of settler and indigenous descent from the island of Newfoundland, Canada. She has spent much of her life just steps from the ocean which greatly influences her art practice. Emma has graduated from the Bachelor of Fine Arts Program at Grenfell Campus, Memorial University and is now a recent graduate of the Master of Fine Arts degree at Emily Carr University of Art and Design. Emma Burry was the 2018 provincial winner of the BMO 1st Art! Award for Newfoundland. Emma has a diverse exhibition history, showing her work across Canada and also in the UK.

Facebook: https://www.facebook.com/emmalburryart
Instagram: @emmaburryart

Transmutations of Emotional Energy: Ceramics, Fibre, and Flesh | Malina Sintnicolaas

This work explores the ways in which emotional energy, such as sentiments associated with depression, trauma, and anxiety, can be represented in a physical form with the mediums of ceramic and fibre sculpture. It discusses the ways in which using these materials’ properties can represent the complexities of these vibrations. When treating mood disorders or mental illness, when you are able to imagine something abstract like emotions as an image, form or object, it brings validity to it, and it brings something easy to visualize in order to work on ways to treat it. Therefore, with this work, I am questioning the ways in which this can be done with sculpture, and to create a dialogue, not for the viewer to connect with the specific emotion but rather to open up a space for contemplation of our interior lives that are often too elusive to share other than through material, abstract and affective works of art.


Malina Sintnicolaas is a sculptural artist currently based in Vancouver, British Columbia. With a practice focused mostly in ceramic, and fibre sculpture, her works are considered to be manifestations, transmutations, or “petrifications” of emotions into a physical form. Her practice is focused in ceramic sculpture due to the tactile nature of the material, the reciprocity of the medium which allows for a physical recording and translation of a gesture, and the immediate occupation of space. Both fibre and ceramics are materials that have an interesting contrast in properties, that they can be so strong yet so fragile at the same time, which correlates to the subject matter of her work, because like the materials, the human psyche is fragile, unpredictable, and difficult to maintain. Drawn to tactile materials, her work is questioning ways in which one can represent emotions such as depression, trauma, and anxiety with a physical form and in what was can one induce empathy for an object even if that object is alien or abstract.  Working with texture, surface, material properties, and form, her sculptures are bodily, visceral, and drive to evoke feeling from the viewer, using affect to create an empathic landscape that will urge an understanding for states of mind which are difficult to be described verbally. She received her B.F.A from York University, and is currently completing her Master of Fine Arts at Emily Carr University of Art and Design. She is the recipient of the 2019 Audain Travel Award; the Won Lee Scholarship from the Sculpture Society of Canada, and has shown work in solo and group exhibitions internationally.