Portfolio - Wendy Trusler
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Archive

Still Ice

1995 -2015

Archival Inkjet Prints on 310gsm Acid Free Hahnemühle Etching Paper in limited editions of five.

 

“Throughout the austral summer of 1996, Trusler worked as a cook in Antarctica.This experience laid the foundation for much of her art making …

Still Ice is the first exhibition of photographs from that summer— an account of both the everyday and the extraordinary in still life moments, portraits and landscapes. Until recently, most of these images languished on contact sheets, now worn and marked with hints of projects in the making.

Re-photographed from the original sheets, the images carry the mood and patina from years of storage and handling. They speak of Trusler’s Antarctic experience at the end of the century, however are unsure of which century they belong to—1996 or 1896. Trusler’s photographs recall Frank Hurley’s images of the Shackleton expedition, yet also hint at the worn and abused surfaces of Mike and Doug Starn’s early work. They are both a personal archive and contemporary report of a most unique continent devoted to peace and science.”

—Paolo Fortin, Curator, Evans Contemporary.

Another Kind of Dance, One & Two—Clip

Another Kind of Dance, One and Two

2008

 

“Sculpture like dance has rhythm and poise and if you see a fisherman wrestling with a rope

and his nets in a high sea, that is a another equally marvellous kind of dance.”

—Barbara Hepworth

 

Another Kind of Dance, One (12 mins) is a DVD compilation video (made with super 8 and 16mm footage) with audio, viewed on a flat screen TV installed in a wood stove. Another Kind of Dance, Two (6 mins, 37 s) is a DVD video projection with audio. Both videos serve to animate the mixed media bookwork Dancing in a Northern Kitchen (1995-2003).

 

When creating Dancing in a Northern Kitchen I was drawn to the accordion form for the way it allowed me compose two-dimensional spaces. The horizontal flow of images and text gave a structure to my exploration of memory. And the stacking of chapters in groupings enabled me to highlight vertical links through dance steps. Acting on an impulse to explore the work’s sculptural potential, I installed the chapters on the floor. They seemed to want to move. Having Dancing in a Northern Kitchen dance in a short film seemed a natural progression.

 

 

Music Credits — Another Kind of Dance, One:

“Laces & Holes” and “Enigma of a Gumboot”

from the album These Are Our Shoes

composed and performed by Peggy Lee –cello and

Dylan van der Schyff – drums

with the kind permission of Peggy Lee and

Dylan van der Schyff.

 

Music Credits — Another Kind of Dance, Two:

“Walk Home”

from the album The Peggy Lee Band

composed by Peggy Lee

performed by

The Peggy Lee Band:

Brad Turner – trumpet and flugelhorn

Jeremy Berkman – trombone

Peggy Lee – cello

Tony Wilson -electric guitar

Chris Tarry – electric bass

Dylan van der Schyff – drums, drum machine, electronics

with the kind permission of Peggy Lee.

 

This project was supported by the Ontario Arts Council.

 

Exhibition and Screenings History:

Rails End Gallery, Haliburton, ON, 2008

ReFrame International Film Festival, Peterborough, ON, 2009

Visual Arts Centre of Clarington, Bowmanville, ON, 2009

Antarctic Chronicles at Gallery 1313

Antarctic Chronicles

1998

 

94 encaustic on slate (roofing tile) paintings, sconces made from metal discards, nails and tart tins, tea lights, charts, maps, bottles, planks, crates made from pallets, chapbooks

 

Antarctic Chronicles grew out of insights gained through journal-keeping while working as a cook on an ecological project in Antarctica. Inscribed with lace-like text, images hover between abstraction and representation to evoke shifting ways of knowing. Illuminated by candles, the installation is a meditation on the fragility of the environment and the fragility of memory.

 

At Gallery 1313, in early winter, votive candles and tea lights warmed the gallery, transforming it into a refuge. Whereas the musty, waterlogged, partially frozen barn-boards I used to shutter windows and line the floor at White Water Gallery cooled the gallery during a spring heat-wave. Anticipating and creating opportunities for elements that cannot necessarily be controlled is an area of increasing interest in my work.

 

Antarctic Chronicles was supported by the Ontario Arts Council.

 

Exhibition History:

Gallery 1313, Toronto, ON,1998

White Water Gallery, North Bay ON, 2000

Visual Art Centre of Clarington, Bowmanville, ON, 2009

 

Photo Credits: Jean-Michel Komarnicki, Wayne Eardley

Ode to Trust

Anatomy text, beeswax, text excerpts, stones, glass bottle, core sample

 

Private Collection

Ode to Composure

Anatomy text, beeswax, text excerpts, iron, glass bottles, milkweed

 

Private Collection

Ode to Grace

Anatomy text, beeswax, text excerpts, lace, iron rings, pinecones, wish bone

 

Collection Art Gallery of Peterborough

Ode to Spirit

 

Anatomy text, beeswax, text excerpts metal, tacks

Ode to Serenity

Anatomy text, beeswax, text excerpts, wire, wrench, nails, tacks, milkweed seeds

 

Collection Art Gallery of Peterborough

Ode to Soul

Anatomy text, beeswax, text excerpts, photographs, MRI image, hair, pigeon egg, burl wood knot, iron frame, stove part, clip

 

Private Collection

Ode to Strength

Anatomy text, beeswax, text excerpts, ruler, level, jaw brace, tacks, iron nail, iron clip, stove parts, anatomical drawings, x-rays, nails, hinges and railway spikes

 

Private Collection

Ode to Epiphany

Anatomy text, beeswax, text excerpts, wood, leaves, tacks, iron clips, painter’s box, wheels, brass handle, moose bones, ski binding, barnacles, bridgework, bulldog clip

 

Private Collection

Odes to Anatomies

2003

 

Eight altered anatomy texts, text excerpts, natural materials, found objects, shelves made from salvaged trim

 

 

Odes to Anatomies was inspired by insights into the body as carrier of memory. Each of the altered anatomy texts depicts a different individual’s medical history: stroke and cancer survivors; a man living with diabetes; a young woman living with lupus, another with chronic pain—each ode addresses memory lost and pays tribute to the ways in which our bodies accommodate, “rewire” and rejuvenate.

 

Exhibition History:

Niagara Artists Company/Centre, St. Catharines, ON, 2003

A Space Gallery, Toronto, ON, 2004

Artsweek Peterborough, Peterborough ON, 2006

Visual Arts Centre of Clarington, Bowmanville, ON, 2009

 

Photo Credits: Sandy Nicholson

 

Scroll down for images and descriptions of all pieces in this Series.

Land and Landscape

18 recent encaustic and mixed media works

 

“You’ve got to go sniff, smell the earth, see it, look at it. That’s the sort of geography that I think is still important.”

—Michael Palin

 

SCROLL DOWN FOR IMAGES AND DESCRIPTIONS OF ALL PIECES IN THIS SERIES.

Running Before the Wind

2015

 

Encaustic, summer camp canoeing curriculum circa 1979, photo transfer, graphite, charcoal, oil stick and pastel.

62×48”

Photo Credit: Lesli Michaelis Onusko

From Explicit to Implicit and Back

2015

 

Encaustic, summer camp canoeing curriculum circa 1979, photo transfer, graphite, charcoal, oil stick and pastel.

24×30”

Photo Credit: Lesli Michaelis Onusko

Gratitude Was the Thing She Felt Most That Summer

2015

 

Encaustic, photo transfer, graphite, and oil stick.

24 x 24”

Private Collection

Photo Credit: Lesli Michaelis Onusko

Silent Return

2015

 

Encaustic, photo transfer and scans, excerpts from The Canoe and You, RH Perry, 1948, summer camp canoeing curriculum circa 1979, graphite, charcoal, oil stick and pastel.

66×48”

Private Collection

Photo Credit: Lesli Michaelis Onusko

Trail’s Edge

2015

 

Encaustic on Canvas on Panel

13 5/8 x 28 3×8”

Available at the Art Gallery of Peterborough

Photo Credit: Lesli Michaelis Onusko

Winter Nocturne II

2015

 

Encaustic on Panel

10×8”

Photo Credit: Lesli Michaelis Onusko

Winter Nocturne III

2015

 

Encaustic on Panel

10×8”

Available at the Art Gallery of Peterborough

Photo Credit: Lesli Michaelis Onusko

Winter Sketch I

2015

 

Encaustic on Panel

7×7”

Private Collection

Photo Credit: Lesli Michaelis Onusko

Winter Sketch IV

2015

 

Encaustic on Panel

7×7”

Available at the Art Gallery of Peterborough

Photo Credit: Lesli Michaelis Onusko

Winter Sketch V

2015

 

Encaustic on Panel

7×7”

Photo Credit: Lesli Michaelis Onusko

Winter Sketch VI

2015

 

Encaustic on Panel

7×7”

Photo Credit: Lesli Michaelis Onusko

A Necessary Experience

2014

 

Encaustic, oil stick and pastel on canvas on panel.

Distressed metal shelf and brackets with ski pole basket.

20″ x 20″

Private Collection

No Experience Necessary

2014

 

Encaustic, excerpts from books in Dad’s library, watercolour paper, oil stick, pastel, tacks on canvas on panel.

Distressed metal shelf and brackets with leather safety strap.

20″ x 20″

Private Collection

Another Kind of Literacy

2014

 

Encaustic on canvas under-painting on repurposed kitchen cupboards–2010, charcoal and graphite drawings–circa 1990, bicycles made from Canadian pennies and copper wire–2013, balsa wood paddles–2013, US army tent canvas, galvanized tin, metal, nails, tacks, rare earth magnets, wood veneer from a crate, birch bark, lichen, Spanish moss, pine needles, twigs.

46½” x 24½”

Grace Notes (for Dad)

2014

 

Encaustic, excerpts from a book in Dad’s library

(Expert Skiing, D. Bradley, R. Miller and A. Merrill, 1960),

oil stick, pastel, tacks on birch panel.

48″x 48″

Private Collection

 

“How much joy in learning to handle the technical details of running with smoothness. And how many lifelong friendships tempered in the fires of competition. Only the good runner who has gotten beyond fighting himself on the long course can say…

 

There are no true shortcuts. As the swimmer through swimming several hundred miles of a crawl stroke, smooths out his motions, co-ordinates his breathing and timing, so the cross-country runner must put the miles behind him before he knows what technique is. Books, charts, photographs training tables can make that work intelligent, but that distance—hundreds of miles running on skis— must also be there.”

Expert Skiing, 1960

Meaning and Value

2014

 

Encaustic, Gran-dad’s security records and papers (The Telegram, 1959, The Globe and Mail, 1971, Rise and Fall Charts, Annual Reports), book-jacket from Aunt Pearl’s investment book, photographs, oil stick, pastel, window mount and trim, nails, tacks, hydrangea petals, Nepalese weaving boat-shuttle made from bone, canvas and silk from Nana and Gramps’ antique screen on repurposed kitchen cupboards, plank from the roof of Jane and Pete’s first house.

58 ½” x 47½”

Paddles Have Names

2014

 

Encaustic, excerpt from The Canoe and You, RH Perry, 1948,

oil stick, pastel, canvas on repurposed kitchen cupboard.

57½” x 18¼”

Private Collection

True Line

2014

 

Encaustic on canvas on panel.

20 x 20 

Private Collection

Indoor, Outdoor—A Murmuration of Small Things I Love

2014

 

Small Challenges—

 

How long it takes to create a piece is a question I never seem to have a straight answer for, mostly because I work in multiples and bounce from piece to piece to navigate impasses.

 

In late November 2014, in anticipation of the holiday season, I challenged myself to make work, start to finish, in an hour—not counting the time it took to work through vexing hanging and label printing woes.

 

The result? A liberating and evolving series of compositions I call “smalls”. I don’t know where this will lead.

 

 

Scroll down for images and descriptions of all pieces in this Series.

Indoor, Outdoor I

2014

 

Encaustic, paper trunk-liner,

Bub’s clothespin, rare earth magnet,

scan from book in Dad’s ski library

and Nana’s Royal Crown Derby on panel.

4”x4”

Private Collection

Indoor, Outdoor II

2014

 

Encaustic, bark and lichen on panel.

4”x4”

Private Collection

Indoor, Outdoor III

2014

 

Encaustic, burlap chair strapping, jar lid,

rare earth magnets, liniment bottle

and Nana’s Royal Crown Derby on panel.

4”x4”

Indoor, Outdoor IV

2014

 

Encaustic,

section of Gene’s tree-scape (c.1975),

Nana’s handmade lace

and Royal Crown Derby on panel.

4”x4”

Indoor, Outdoor V

2014

 

Encaustic,

section of Gene’s treescape (c. 1975),

Nana’s handmade lace,

and a bicycle I made from Canadian pennies,

copper wire and nails (2013) on panel.

4”x4”

Private Collection

Indoor, Outdoor VI

2014

 

Encaustic and scan of

Skiing the America’s spine on panel.

4”x4”

Private Collection

 Indoor, Outdoor VII

2014

 

Encaustic, TV screen capture,

and Brion’s nails (c. 2006)

with rare earth magnets on panel.

4”x4”

Indoor, Outdoor VIII

2014

 

Encaustic on panel.

4”x4”

Private Collection

Skiing the Americas

2014

 

Encaustic on panel.

4”x4”

Private Collection

Across Countries

2014

 

Encaustic, paper trunk-liner,

Dad’s ski carrier and

rare earth magnets on panel .

7”x7”

Private Collection

Indoor, Outdoor IX

2014

 

Encaustic, TV screen capture,

paper trunk-liner and tacks on panel.

4”x4”

Indoor, Outdoor X

2014

 

Encaustic, cardboard, paper trunk-liner,

Bub’s clothespin, rare earth magnet,

Nana’s handmade lace and tacks

on panel.

4”x4”

Indoor, Outdoor XI

2014

 

Encaustic, TV screen capture

packaging from Dad’s toolbox,

lichen and tacks on panel.

4”x4”

Indoor, Outdoor XII

2014

 

Encaustic, burlap

Nana’s handmade lace,

canvas, wood, spruce seeds,

birch bark, cedar fronds and tacks

on panel.

4”x4”

Indoor, Outdoor XIII

2014

 

Encaustic, bark, lichen,

reindeer moss and tacks

on panel.

4”x4”

Chapter 1 – Getting There

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Private Collection

Chapter 2 – Breakfast

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Chapter 2a – Breakfast into Lunch

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 32″

Private Collection

Chapter 3 – Baking – Yeast Breads

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Chapter 3a– Baking – Quick Breads & Muffins

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Chapter 4 – Soups

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Chapter 5 – Salads

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Chapter 7 – Mains – Meat, Poultry & Fish

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 72″

Chapter 8 – Mains – Grains & Pasta

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 48″

Chapter 10 – Vegetarian Mains & Sides II

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf
10″ x 56″

Chapter 13 – Menu Plans

Encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather on a floating shelf

10″ x 88″

Dancing In a Northern Kitchen

1995-2003

 

17 mixed media bookworks —encaustic, oil stick, dry pigment, photographs and paper on hinged mahogany-ply panels backed with burlap and leather—on floating shelves

 

What can be rekindled by a smell, a taste or by the simple act of making?

 

Dancing in a Northern Kitchen was inspired by many seasons spent cooking for tree-planters in remote areas of Ontario, Alberta and British Columbia. Using the accordion bookwork form, I set out to examine the connections between cooking, art and dance. I also wanted to honour the layers of experience that are folded into the pages of a cookbook to suggest that time, place and people are as integral to recipes and good cooking as ingredients. In each piece, recipes and menu plans, dance steps, images and photographs are organized in chapters and layered in encaustic wax to bring to mind stories, reminiscences and rhythms of the everyday.

 

Exhibition History:

Niagara Artists Company/Centre, St Catharines, ON, 2003

Rails End Gallery and Arts Centre, Haliburton, ON, 2008

Visual Arts Centre of Clarington, Bowmanville, ON, 2009

 

Photo Credits: Wayne Eardley

 

 

Scroll down for images and descriptions of all pieces in this Series.

Another Kind of Literacy, 2014

Encaustic on canvas under-painting on repurposed kitchen cupboards–2010, charcoal and graphite drawings circa 1990, bicycles made from Canadian pennies and copper wire–2013, balsa wood paddles–2013, US army tent, canvas, galvanized tin, metal, nails, tacks, rare earth magnets, wood veneer from a crate, birch bark, lichen, Spanish moss, pine needles, twigs.

46½ H x 24½ W

Collective Vision—The Fine Art of Health

2011 – ongoing curatorial project

 

A Public Art Project to enrich the healing environment in the Mental Health Services Department of the Peterborough Regional Health Centre ( PRHC), open to both professional and amateur artists—any individual who is directly or indirectly affected by mental illness. These broad specifications reflect the reality that, in one way or another, we are all affected by mental illness.

 

There are currently thirty-eight Collective Vision artists, ages six to seventy, who together, since 2011 have exhibited over 150 works. Forty of those works have been added to the PRHC permanent collection including Micky Renders 25-piece colour field installation,  Finding Joy, which was purchased for the hospital through an anonymous donation.

 

With thanks to all the participating artists for their talent and dedication.

 

Featured here, in order of appearance, are a sampling of Micky Renders’ oil on canvas paintings, John Marris’ collaborative acrylic on paper works, digital collages by Laurel Paluck, Claire Hogenkamp’s ipad paintings and Laura Madera’s abstract watercolours.

 

Acrylics, oils, watercolours, prints, ipad paintings, hand pulled prints, photography and mixed media — Can Art Change Anything?

 

“Until I applied to participate, I had been silent about the effects of mental illness on my family and me. I wasn’t hiding it, but I also wasn’t sharing it. Including my mother’s story in the application was very liberating.”

—Claire Hogenkamp, Collective Vision Artist

 

“I love this installation. It was so calming for me transitioning in to D1 Intensive and again, re-entering the rest of the world…
I wonder if it could somehow be reproduced to be used as a therapeutic tool?”

—Thoughts on Finding Joy from a MHS practitioner.

 

“My life will still be a “success” story. I do not give up… So many people have the idea that being traumatized is a lifelong state and I happen to know that it can be reversed and I already see the signs… Thank you for encouraging my art for this is one certain way of healing…Thank you so very much for all of your help and kindness to me. It is deeply appreciated that you have never treated me with disdain or prejudice. Some have.”

—Thoughts from a Collective Vision artist, 2013

 

Collective Vision Exhibitions run for six-month periods, and new submissions of unframed works on paper are always welcome. Information about the submissions process can be found on the Collective Vision Facebook page, at www.prhcfoundation.ca or by contacting the PRHC Foundation at art@prhc.on.ca. To find out how you can support the initiative contact me here. By working together, we can continue to dispel the myths and stigma associated with mental illness.

 

Collective Vision came into being largely through the financial assistance of the Peterborough Foundation and is funded in part by a grant from the Bierk Art Fund, a fund within the Community Foundation of Greater Peterborough. The project was also made possible through the community partnerships and support from Prime Data, Big Sky Design, Victory Art Supply and Christensen Fine Art.

 

The Antarctic Book of Cooking and Cleaning

Vauve Press, 2013 (Limited Edition)

HarperDesign, 2015

 

The Antarctic Book of Cooking and Cleaning is a journey through one austral summer—the story of an environmental cleanup project on a small island off the Antarctic coast and a look at the challenges of cooking in a makeshift kitchen at the bottom of the world. Whenever adventure beckons, an open mind and a full stomach are necessities.

 

In 2014 The Antarctic Book of Cooking and Cleaning was shortlisted for the Taste Canada Food Writing Awards for best culinary narrative and received a Merit in Book Design at the Advertising & Design Club of Canada (ADCC) Awards.

Released worldwide in May 2015  with HarperDesign, an imprint of HarperCollins Publishers USA.

Recommended in the 2015 NY T Holiday Gift Guide.

 

ABCC_flyerv2

For more information or to purchase a book check here.

 

Our Readers Say:

“. . . nourishing in all sorts of ways. Not just for the sumptuous recipes they include – good enough to make one take up litter-picking or penguin counting just to fit them all in – but for the day to day detail of deep-frozen existence.” —Bella Bathurst, British Airway’s High Life magazine

 

“It’s far more than Cooking and Cleaning. I guess the way that Zen and the Art of Motorcycle Maintenance is not just about Zen and Motorcycles, really.” —Joy Roberts

 

“Her skills honed in the “bush camps across Canada,” Trusler subscribes to the school of “pitch-and-toss cookery,” in which scarce ingredients force instinct and imagination to commingle in a sort of culinary gestalt.”— Christine Baumgarthuber, The New Inquiry

 

“Sometimes a book is just a book and sometimes a book is an entire experience in itself; it can cross several different senses before even being consumed by the mind. The Antarctic Book of Cooking and Cleaning is one such book.” —Cat Croteau, Women’s Adventure magazine

 

It’s a magnificent book, from the archival photographs, both personal and historical, to the eccentricity of your writing…and especially for the tone, the project of it, ethically – and your curiosity and generosity towards the people you were with. It’s been a real joy to encounter a kind of wonder I recognize and relate to so strongly. And I love any cookbook that also includes recipes for cocktails.” — Soraya Peerbaye, author

 

“I love that it is so many different things in one: cook book, chronicle, journal, history, confession, feminist manifesto if I dare say so… I think a lot of people will be interested in these experiences and that it has a very universal appeal on top of being flat out gorgeous and full of amazing recipes.” Rita Leistner, author of Looking for Marshall McLuhan in Afghanistan (2013), former tree-planter (1982-1992)