Union Gallery

Image of the Gallery

MAin Space

cut + print
Mackenzie Browning / Ebonnie Hollenbeck / Janghan Hong
Kaisa Moran / Daniela Tanaka Lo
May 5 - June 22, 2012



Daniela Tanaka Lo, Desert Table, woodcut, 2011

A selection of very large woodcut prints produced during a residency in North Adams, Massachusetts by senior students in the Fine Art Programme at Queen’s University.

Mackenzie Browning is fascinated by found photography, rural life and the snap-shot aesthetic. Ebonnie Hollenbeck’s artistic inspiration comes from the combining of scientific and natural iconographic images such as charts, graphs, equations, forests, ravens and stag. Janhang Hong is a painter in oil and acrylic who was very keen to venture outside his comfort zone to create this woodcut print. Kaisa Moran’s work examines the ways in which society and the military affect interpersonal relations, especially among family members. Daniela Tanaka Lo works mainly in printmaking and drawing and uses food imagery and natural forms found in botany to explore the effects of layering in her work.

Mackenzie Browning / Artist Statement
Mackenzie Browning’s woodcut prints originate from his experience of moving to an urban setting from a rural community and the feeling of displacement that resulted. His prints not only express a contrast between urban and rural living, but the similarity between the two. Both farm life and city living involve taking great control over the natural environment.

The woodcut prints, Explosion at Centrepoint and Follow the Flock reflect both the simplicity and chaos found in urban and suburban living. The sheep in these prints symbolize the land and community in which Mackenzie grew up, on a rural sheep farm in Hampton, Ontario. The sheep also represent human beings and their tendency to conform to their surroundings, especially in close social environments and living conditions. As Live stock, sheep are most often associated with pastoral, arcadian imagery and landscapes. The red-brown and yellow in Mackenzie’s prints express the rich colours found in the farm countryside. In the woodcut print, Explosion at Centrepoint the flock of sheep represents panicking humans, instinctively running away from danger and the exploding village where they lived.

Ebonnie Hollenbeck / Artist Statement
Ebonnie Hollenbeck’s artistic inspiration comes from the combining of scientific and natural iconographic images such as charts, graphs, equations, forests, ravens and stag.

The print Standpoint is a large reductive woodcut depicting a stag standing atop a cliff among birch trees. For this work, Hollenbeck used the birch wood grain to emphasize the reference to birch tree imagery in the work.

Mackenzie Browning, Explosion at Centrepoint (detail), woodcut, 2010 / Ebonnie Hollenbeck, Standpoint, woodcut, 2011

Janghan Hong / Artist Statement
In this piece there are two figures representing the older and younger self. They are constrained tightly between the margins. All the elements of the image stay within the margins to force a very inward look by the viewer. The focus is on the relationship between the two; the younger self paints a series of images on the older self to define the figure to the viewer, even though he himself remains undefined and empty. He starts from the bottom and works his way up. The actual symbols do not mean anything particular; but they do become more abstracted from start to finish, showing the increasing complexity of our traits. Meanwhile, the older self remains passive other than creating tension by latching onto the neck of his younger self, implying that he would be able to stop being defined by his past once he lets go of his nostalgia.


Janghan Hong, Identity (detail), woodcut, 2010 / Kaisa Moran, Bob and Queenie (detail), woodcut, 2011

Kaisa Moran / Artist Statement
Kaisa Moran’s print, Bob & Queenie, was created in memory of her paternal grandparents. The sparrow represents her grandmother Queenie Moran, due to her adoration for the song His Eye is on the Sparrow. Meanwhile, the chickadee represents her grandfather Robert Moran, who nicknamed Kaisa ‘Chickadee’.

Daniela Tanaka Lo / Artist Statement
In this piece Daniela Tanaka Lo draws on her strong connection to food. Provided with the opportunity to carve and print a large- scale print she indulged her self-described ‘foodie’ status to depict an elaborate banquet scene full of delectable desserts. On the right hand side of the print, there is evidence of food being ravenously consumed – half-devoured cake, leftover crumbs, vessels knocked over – actions intended to illustrate an uncontrollable passion for, and perhaps even an extreme addiction to food by presenting an attractive, excessive array of desserts being unattractively eaten. The dark atmosphere and carved textures from the wood give the piece a sinister feel despite the subject matter.