Past Fellows in Art Conservation
Ainsley Walton, Ottawa, Ontario, has held positions in conservation at Library and Archives Canada and the Archives of Manitoba. During her residency at the National Gallery, she is conducting research focused on the preservation of the National Gallery's collections of time-based mediafilm, video, sound works, as well as "new media" works based on electronic or digital platforms. Ms. Walton has a Master's in Art Conservation from Queen's University.
Marie-Chantale Poisson, of Ottawa, Ontario, has been awarded the Claudia De Hueck Fellowship in Art Conservation. She received her undergraduate degree in art history from the Université du Québec à Montréal, and her Master of Art Conservation from Queen's University in 2003. The Fellowship in Art Conservation will allow her to pursue a specialization in the conservation of contemporary art at the National Gallery through study of the conservation and treatment of plastics.
Marie-France Lemay, of Montreal, Quebec, has been awarded a Claudia De Hueck Fellowship in Art Conservation. Marie-France Lemay will examine the materials and techniques used on paper negatives by nineteenth century photographers to alter tonal reproduction on the related positive images. She received her BA in the history of art from the Université du Québec à Montréal, and her MA in conservation from the Université Paris I Panthéon-Sorbonne. After completing internships in paper and book conservation in France, Spain, the Netherlands, the United States and Canada, Marie-France Lemay worked with the conservation staff of the Canadian Centre for Architecture in Montreal from 2000 to 2003.
Maurizio Flores Guarneros has also been awarded a Claudia De Hueck Fellowship in Art Conservation. He is a graduate of the Escuela Activa de Fotografía in Mexico City and the Ottawa School of Art. His research in the Conservation and Restoration Laboratory of the National Gallery will examine the technical aspects of employing digital cameras for the study of works of art, resulting in recommendations for policies and procedures for the use of digital photography to meet the documentation requirements of the department. Maurizio Flores Guarneros is currently on the staff of the Ottawa School of Art.
David Tomas, Montreal, Quebec, received a Master of Fine Arts from Concordia University, Montreal, a Master of Science from the Université de Montréal and a doctorate in anthropology from McGill University. He is currently Professor of Art Practice, Multimedia and Interactivity, Université du Québec à Montréal. Recipient of the Claudia de Hueck Fellowship in Art and Science for 2001-2002, Dr. Tomas will investigate the relationships between scientific and artistic inquiry by constructing a virtual laboratory in which the sites, ideas and methodologies of scientific and artistic practice can converge.
Susan Feindel, Chester Basin, Nova Scotia, has been awarded the Claudia De Hueck Fellowship in Art Conservation. Her studio program is based upon her investigation of the deep water coral beds off the shores of Nova Scotia and Newfoundland.
Annie Thibault, of Hull, Québec, has been awarded the Claudia De Hueck Fellowship in Art Conservation, for the development of installation work which incorporates her laboratory study of fungal cultures.
Jerry Pethick, of Hornby Island, British Columbia, Claudia De Hueck Fellow in Art and Science, is a Canadian artist living in British Columbia. Mr. Pethick graduated from the Chelsea Polytechnic Art Department, and then attended the Royal College of Art, Sculpture School, where he graduated as an Associate of the Royal College of Art in 1964. His interest in sculptural space led him to the dimensional imaging system of integral photography and
holography. Mr. Pethick moved from Britain to Ann Arbor, Michigan in 1968 and after teaching briefly at the San Francisco Art Institute moved to San Francisco and co-founded the School of Holography in 1971. Since 1975 he has lived in B.C. Mr. Pethick has exhibited regularly abroad and in Canada. In 1992 he exhibited at The Power Plant in Toronto and was included in the Canadian Biennial of Contemporary Art in 1989 at the National Gallery of Canada. This fall he exhibits at the Canadian Embassy in Tokyo and the Catriona Jefferies Gallery in Vancouver. Curator Annette Hurtig is currently at work formulating an exhibition of disparate drawing practices used by Mr. Pethick entitled, "Drawing Room", a show which will travel to several venues in 1998 and 1999. Mr. Pethick will devote his fellowship to projects in progress: a book which requires in depth archival material on artists between 1870-1920 who have been touched by the almost invisible influences of technological science and further examination of Cornelius Krieghoff's work as a sociological and historical document. While at the Gallery Mr. Pethick will also carry out research on integral imaging utilizing electronic media; this work will be pursued with colleagues in the Ottawa area at the Communication Research Center.
John G. Hatch, of London, Ontario, CIaudia De Hueck Fellow in Art and Science, is Assistant Professor of Art History at the University of Western Ontario and is currently Undergraduate Chair of the Department of Visual Arts (1995- 997). He has a B.A. in Economics and a B.F.A. (Honours) in Art History from Concordia University, an M.A. in Art History from Queen's University, and was awarded his Ph.D, in Art History and Theory from the University of Essex (U.K.) in 1995. Dr. Hatch's Ph.D. thesis, “Nature's Laws and the Changing Image of Reality in Art and Physics: A Study of the Impact of Modern Physics on the Visual Arts, 1910-1940”, was written under the direction of Dawn Ades and Peter Vergo. His work as fellow will examine the influence of Albert Einstein's Theory of Relativity on the visual arts. Dr. Hatch has presented papers at numerous conferences including the Society of Literature and Science, the College Art Association and the Universities Art Association of Canada. He has just published an article on Michelangelo for the British Electronic Journal 491: Art Fragments, with J. Gerard Curtis, and is presently completing an article on the role of thermodynamics in Kazimir Malevich's Suprematism. He will also be contributing a chapter on El Lissitzky's use of fourth-dimensional theories in his Proun work for a book edited by Prof. Linda D. Henderson of the University of Texas at Austin.
Liliane Karnouk, of Vancouver, British Columbia, the first Claudia De Hueck Fellow in Art and Science is a Canadian artist, author and teacher from Vancouver of Egyptian origin, who completed an M.A. in Art Education in 1972 at the Universitv of British Columbia. She has recently returned from teaching drawing, painting and art history at the American University in Cairo, having taught art earlier in Montreal and Vancouver. Her art work, particularly on paper - Ms. Karnouk is a papermaker - has been extensively exhibited in North America and Europe. She has worked in theatre-design, has received grants from the Canada Council and the Ford Foundation and has published widely on contemprary Egyptian art. Her book Contemporary Egytian Art (American University in Cairo Press, North American distribution by Columbia University Press) has just been published (1995). She has recently exhibited an installation of live date-palms in test-tubes (grown rapidly from cells through micro-propagation). integrated with a cast-iron fence of spears, in an exhibition called "Time Machine: Ancient Egypt and Contemporary Art" held at the British Museum in London in 1994. Ms. Karnouk will devote her fellowship to the development of an art-work based on propagation systems or tissue culture (growth of plants from cells) in the context of the mythical garden and of natural reforestation. She will do her work in a laboratory - studio in Vancouver following a period of training with horticulturist Dr. Sinclair Mantell, Head of the Unit for Advanced Propagation Systems at the University of London (Horticulture Section, Wye College). She hopes her research can be applied, with the help of an educational brochure, in schools and in rural communities, where art can inspire plant propagation, the development of the garden and the promotion of agro-forestry.