Tracy Templeton is a visual artist and the Head of Printmaking at Indiana University. She has specialised in photographic etching and has lectured extensively on the technique and her artwork in numerous institutions in Europe and USA. During her time in Buenos Aires, she did a residency within the ´acePIRAR program, exhibited her artwork at Fundación´ace‘s studio as well as in the Instituto Superior Santa Ana, where she also gave a lecture and a demonstration on photographic etching. Templeton’s time at ´ace was very rewarding in many ways. She showed a very focused and generous way of working, aspects that we always search to convey as we consider them essential when working collaboratively.
Much of my early work chronicles the abandoned rural homesteads that characterise the Canadian prairie where I was raised. My images capture the subtle changes wrought by time, the unremarkable gaps between events and what is left at the end. Memories reemerge as evocative fragments of actuality in the present and invite reflection on the past.
I approach my work without any preconceived outcome. The photographs I begin with act mainly as immediate visual records that are manipulated throughout the printmaking process. During the production, I have the opportunity to alter and reduce the photo imagery, simplifying it and simultaneously broadening its meaning by drawing attention to the essence of the subject. I have discovered that throughout my work, what might be mistaken as technical artificiality, does in fact become the catalyst for the very organic process of seeing and feeling. Consequently the reworked image reveals the deeper complexities and the profound, but intangible, results of experience.
Through exploration of the environment and culture in Argentina and ongoing analysis of imagery I hope to address ideas surrounding Trajectory—exploring imagery about the phenomenology of space and time in conjunction with our sense of place(ment). Our lives are composites of continuous journey: from one side of the room to another, across a city, country or continents. Common across these movements is a thread or temporality—remembering where we were and imagining where we are going. In doing so, there is an entanglement of the body in its relationship to reminiscence as we are conspicuously aware of the past even as we are acting in the present. The expression “taking places with us” supports tangible meaning through this awareness. It hints at the tension between identity and otherness and the interconnectedness of original experience versus augmentation of experience through memory.
1972 | Saskatchewan, Canada
Lives and works in the USA.
2013 | Head of Printmaking and Director of the Venice Program in Printmaking and Artists Books at Indiana University Bloomington
1997 | MFA, University of Alberta, Canada
1995 | BFA from the University of Regina in Canada
2015 | Resonance – Canadian Printmaking, Pekin Shengzhi Space Culture Co., Ltd., Pekin, China
2014 | Formative Impressions – KCPA International printmaking exhibition, Seoul Museum of Art, South Korea
2014 | Somewhere in Between, Louise Jones Brown Gallery, Duke University, North Carolina, USA
2013 | Contemporary Printmaking from Canada and the USA, Art Space Eumeria, Tokyo, Japan
2011 | IMPRESSION: City of the Aurora Borealis, Academia del Arte, Warsaw, Poland
_ Honorary Mention at the Seoul Print Biennial, South Korea
_ Third place in the Great Canadian Printmaking Competition, Canada
In the ´aceNITE held in June, 2016 the exhibition dis-PLACED from Tracy Templeton, artist in residency during May-June 2016, was presented.
A series of works in photolithography and chine-colle that show almost empty environments where the only thing left is the trace of a human presence that is no longer there. Nocturnal atmospheres, somewhat nostalgic and cracked, through the broken spaces golden and silver lines emanate providing another level of reading. Allowing ourselves to establish the association of the gold to the Byzantine, to the atemporal that seems to transport these scenes to a higher, perhaps sacred plane. But at the same time, these fragmented scenes connect us to the intimacy and mark the artist.
While observing the many repairs made to streets and plaster walls around Buenos Aires –along with the European-influenced architecture accentuated with gold leaf such as the Teatro Cólon and other significant landmarks– I discovered parallels between restorative processes and my current research. Looking specifically at lines I had used to signify folds or tears in previous work, I resurrected these marks in my residency artwork. I used leafing techniques to mimic the appearance and philosophy of Kintsugi while referencing the cracked sidewalks and architectural renewal I saw in Argentina.
Artists in dialogue
A new ´aceNITE event, during an autumnal evening, displayed works from different disciplines of national and international artists who are all at different stages in their artistic careers. One of ´ace‘s missions is to be able to include artistic diversity while maintaining aesthetic and conceptual consistency.
The artists who displayed their work and dialogued with the public in this ´aceNITE were:
- Tracy Templeton (Canada-USA), artist in residence from the May-June period, with her series dis-PLACED exhibited in the Políglota Room
- Invited artist Alejandro Thorton presented International Monkey Business, a performance together with a video projection of performances made in collaborattion with Nina Staehli (Switzerland).
- Eric Markowski (La Plata, Argentina), artist selected through the SEMILLERO 2016 open call, presented feticheAFICHE at the Dialogue Space
- At the Transversal Space it was presented a group show by students and graduates from Instituto Santa Ana, printmaking courses.
Semillero (Seedbed) 2016
Santa Ana Institute
Paula Peltrín | Lucía San Clemente | Ana Severich | Yumi Tamanaha | Paz Tamburrini | Daniel Tubío | Bárbara Vincenti
International Projects, Exhibitions
The World IN a Handkerchief
The World IS a Handkerchief : El mundo es un pañuelo
A Wandering Genealogy curated by Claudia DeMonte & Cecilia Mandrile
The World IN a Handkerchief : El mundo en un pañuelo
Guest Curator, genealogy Proyecto’ace: Alicia Candiani
Exhibition of pieces
selected from the Fundación´ace´s collection and Alicia Candiani’s personal collection of the participating artists in “The world IN a handkerchief”
For a month and a half, the Políglota Room is hosting three exhibitions on a rotating basis. From March 23 to April 1, “The world IS a handkerchief” and “The world IN a handkerchief: the genealogy of ´ace” were exhibited simultaneously, paying special tribute to the Argentine artist Graciela Sacco. While the original series returned to New York from where it will soon travel to England, the ‘ace genealogy collection was joined by a new exhibition of large format pieces of the participating artists, some belonging to the Fundación’ace collection and others to the private collection of Alicia Candiani.
The World IS a Handkerchief is a travelling exhibition rooted in the Spanish saying ‘el mundo es un pañuelo,’ which translates into English as ‘this is such a small world’. The project traces serendipitous encounters, moments of discovering personal connections in distant places or unexpected contexts. The project began with the meeting of Claudia DeMonte and Cecilia Mandrile as a mentor and student respectively at the University of Maryland, United States in 1995 and has expanded through an international collaborative network between mentors, students and
The World IN a Handkerchief is a new chapter of the project, a graphic, soft and traveling portfolio curated by guests artists from the core genealogy. Artist and curator Alicia Candiani, essential mentor of this genealogy, Founder and Director of Proyecto´ace, has been invited to curate this new collection that reflects her close creative family.
ABOUT THE WORLD IN A HANDKERCHIEF by Cecilia Mandrile
Handkerchiefs have accompanied people in celebrations and farewells in many cultures for centuries, offered bodily protection and coverage, and sustained expressions of political tenets and spiritual beliefs. In this project, handkerchiefs become vessels of memories and itinerant narratives; containers of emotions; translators of wounds, signals of ideological resistance. Each piece epitomizes a soft space that holds disappearing recollections of homeland as well as reflections on displacement and identity that can be carried as a tangible memento. In times when touch appears as a dangerous sense, every single printed handkerchief means a meaningful testament of the continuous nurturing mentorship among artists and educators, reminding us that the soft touch remains both an intimate and universal need of communication.
To celebrate this constant and sustained creative dialogue, in 2019 the curators developed a portable exhibition of 50 handkerchiefs that explored the meaning of belonging and interconnectedness that this Spanish saying so tangibly evokes. In the reconstruction of this alternative family made up of artists and collectives from different latitudes and generations during the last two decades, both printed an edition of 25 handkerchiefs, and sent a printed handkerchief along with a blank handkerchief to 50 invited artists to intervene with their own reflections
on home, identity and belonging. From this exchange a “wandering genealogy” was born, a tribute to the strong threads that have woven this shared territory as itinerant artists and educators.
A limited edition catalogue including the work of 50 invited artists was published by Impact Press, Bristol, UK and includes an essay by Gill Saunders, Senior Curator of Prints, Victoria & Albert Museum, London. Currently, the catalogs of workshops and portfolios remain as digital publications, thus allowing to document the constant growth of this genealogy. Chris Knollmeyer, a sound artist in residence at ´ace at the same time, composed for this exhibition a special piece: “Sound of the Handkerchiefs”. The piece is a piano study made up of 25 melodies. Just as the handkerchiefs are tied to each artist’s history and sense of home, Chris feels a connection to the piano.
March 23, 7PM. Sala Políglota
April 27th, 1PM
The World is a Handkerchief |El mundo es un pañuelo
2019 | London Print Studio Gallery, London, UK
2020 | Galería Blackburn 20|20, Elizabeth Foundation for the Arts,New York, USA
2021 | IMPACT11, Hong Kong, China
Catalogues | Instagram |Vimeo