Stephanie Patsula



Stephanie Patsula

Kamloops Museum window: 207 Seymour Street (watch for this installation to change daily)

135 Victoria Street > AFTER DARK

Stephanie Patsula is a Kamloops-based visual artist who works in sculpture, performance and multimedia installation. Born in 1988 in Edmonton, Alberta and in 2011 Patsula moved to Winnipeg to attend the University Of Manitoba School of Art before transferring to Thompson Rivers University where she completed her Bachelor of Fine Arts in 2014. Between her experiences at two different post-secondary institutes, the artist has combined a strong foundation in all mediums that compliments her growing conceptual proficiency and awareness of contemporary trends. Patsula refined her practice to focus on relationships between humans and their spaces. Her work has since explored installing work into architecture.

Forum, 2014
MDF, pine shelves, hardware, 68 objects from the Kamloops Museum’s permanent collection, light,  2 projected information loops, 7 found objects, 2 projection screens

Forum is an exploration of object-based, archival text specific to Kamloops culture and history. It is a mash-up of almanac information and local artifacts drawn from the Kamloops Museum’s collection and presented in the museum’s display window on Seymour Street. This combination of text and object transcends time and the artwork takes shape as a present stream of visual information that will change daily.

Silver Aqueous, 2014
Projectors, carts, extension cords, drywall, hardware, sound scape, videos

In Silver Aqueous Patsula uses her body and sculptural materials to create an aesthetic of visual disruption in the landscape. By inserting herself into a natural environment she is able to perform and document her artwork. In this work Patsula creates “temporary sculpture” out of reflective mylar blankets, originally manufactured for use in emergency situations. The mylar surface interacts with the space around it to produce a striking visual break in the landscape. While working from within the mylar blankets to manipulate this lightweight and lustrous material, the artist documents her interactions with the wind and surrounding landscape with photographs and video. Silver Aqueous situates two related projections of a documented performance in the corner of a room. The relationship between each projection located on converging planes communicates the subtlety of self-awareness in one’s habitat.


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