Supertrain 2023
Media Questions, Responses by Helen Gerritzen and Kyla Fischer
What drawing process/programs did you use to create your artwork?
Our process often started with bringing harvests into our studios to photograph them, much like portraits. We also went directly into the garden, documenting the growth habits of the plants. From these, we would then create full scale drawings in multiple transparent layers that became the building blocks for the prints. We ultimately chose to use the technique of screen printing because it gave us the ability to use brilliant colours in the work. We played further with this process in the studio, even after these layers were printed. For example, by placing actual nasturtium flowers or seed pods on top of the printed images and photographing them together for the final image.
Some images, such as the native pollinators and fauna, Kyla printed in relief linocut. The distinctive mark making of the media contributes a graphic energy to the images that contrasts beautifully with the hand drawn flora.
A crucial part of the project was a residency in the SNAP studios and printshop, where we created all of our images. We also utilized the expertise of the SNAP staff in translating these prints into the images seen on the train design.
Could you explain how the work connects to the theme of Environmental Stewardship? What was your creative process in creating your designs for the LRT from that theme?
Our proposal celebrates the importance of Edmonton’s community gardens. Specifically, it honours our experiences of building connections to the land, environment, nature, and community. In turn, these connections encourage a sense of responsibility and respect for the complexity of ecosystems and how wildlife and plants support each other and support human life in an urban setting.
As print artists we have more than two decades of professional practice in artmaking, but we also have a lifetime of experience tending gardens and producing food. Both of us participate in the Strathcona Rail Community Garden and each tend a 24’ by 10’ plot. We practice environmental stewardship through the planting and caretaking of the land and are rewarded with harvests, but also mental and physical well-being.
The goal of our project was to bring this experience of the garden to the riders on the train.
We were amazed at how the creative processes of gardening and art making intertwined in this project. The ability to go from garden to studio was so inspiring. As spring turned to summer and turned to fall, the garden gave us new ideas and directions to explore: colours, shapes, intensity, growth and decay are reflected in the work. It was also important to document the gardener’s activities throughout the year: tending, harvesting and collecting seed.
Could you talk about the animal and plant motifs in the work?
All the images come directly from our gardens and the experiences we have within. We harvested or picked the kohlrabi, garlic, nasturtiums, sunflowers, sweet peas, rudbeckia, strawberries and rhubarb. As gardeners, we are constantly researching new methods for environmentally sustainable growth in an urban setting. As artists, we researched and sourced images to talk about things like soil health, worms and important native pollinators, as well as other “participants” in the garden: birds and rabbits.
What does it mean to you to have your work out there in such a unique and publicly accessible way?
Helen We both have many years of experience exhibiting our artwork in galleries and other public venues, yet designing for the LRT made us think about how the public will access our artwork in such a different and wonderful way. I kept thinking of how families and specifically children would interact with and interpret the images, allowing them to connect to nature within the city as we do. And, through the work, we were very interested in telling our stories of creation—as both gardeners and artists.
Kyla When creating art work for such a unique space, a lot of interesting questions arise. How will the public see this particular image: looking up? looking down? being surrounded? The public will experience the work within an ordinary part of their day; getting from one place to another. We had the opportunity to make this ordinary aspect of life a little more extraordinary.
Tell us about your experience collaborating together on this project. Do you have any plans for future collaborations?
Helen When the call for the Supertrain came out, I immediately thought of Kyla as a collaborator. Plus, I just couldn’t conceive of creating a project all about community gardens—alone. Kyla and I are neighbours in the Strathcona Rail Community Garden and both are print artists, so it just seemed perfect!
Kyla This collaboration with Helen has been eye opening and so rewarding. Discussions regarding particular imagery often made for more elevated decisions and work that has both our fingerprints on it. I have never experienced anything like it.
What drawing process/programs did you use to create your artwork?
Our process often started with bringing harvests into our studios to photograph them, much like portraits. We also went directly into the garden, documenting the growth habits of the plants. From these, we would then create full scale drawings in multiple transparent layers that became the building blocks for the prints. We ultimately chose to use the technique of screen printing because it gave us the ability to use brilliant colours in the work. We played further with this process in the studio, even after these layers were printed. For example, by placing actual nasturtium flowers or seed pods on top of the printed images and photographing them together for the final image.
Some images, such as the native pollinators and fauna, Kyla printed in relief linocut. The distinctive mark making of the media contributes a graphic energy to the images that contrasts beautifully with the hand drawn flora.
A crucial part of the project was a residency in the SNAP studios and printshop, where we created all of our images. We also utilized the expertise of the SNAP staff in translating these prints into the images seen on the train design.
Could you explain how the work connects to the theme of Environmental Stewardship? What was your creative process in creating your designs for the LRT from that theme?
Our proposal celebrates the importance of Edmonton’s community gardens. Specifically, it honours our experiences of building connections to the land, environment, nature, and community. In turn, these connections encourage a sense of responsibility and respect for the complexity of ecosystems and how wildlife and plants support each other and support human life in an urban setting.
As print artists we have more than two decades of professional practice in artmaking, but we also have a lifetime of experience tending gardens and producing food. Both of us participate in the Strathcona Rail Community Garden and each tend a 24’ by 10’ plot. We practice environmental stewardship through the planting and caretaking of the land and are rewarded with harvests, but also mental and physical well-being.
The goal of our project was to bring this experience of the garden to the riders on the train.
We were amazed at how the creative processes of gardening and art making intertwined in this project. The ability to go from garden to studio was so inspiring. As spring turned to summer and turned to fall, the garden gave us new ideas and directions to explore: colours, shapes, intensity, growth and decay are reflected in the work. It was also important to document the gardener’s activities throughout the year: tending, harvesting and collecting seed.
Could you talk about the animal and plant motifs in the work?
All the images come directly from our gardens and the experiences we have within. We harvested or picked the kohlrabi, garlic, nasturtiums, sunflowers, sweet peas, rudbeckia, strawberries and rhubarb. As gardeners, we are constantly researching new methods for environmentally sustainable growth in an urban setting. As artists, we researched and sourced images to talk about things like soil health, worms and important native pollinators, as well as other “participants” in the garden: birds and rabbits.
What does it mean to you to have your work out there in such a unique and publicly accessible way?
Helen We both have many years of experience exhibiting our artwork in galleries and other public venues, yet designing for the LRT made us think about how the public will access our artwork in such a different and wonderful way. I kept thinking of how families and specifically children would interact with and interpret the images, allowing them to connect to nature within the city as we do. And, through the work, we were very interested in telling our stories of creation—as both gardeners and artists.
Kyla When creating art work for such a unique space, a lot of interesting questions arise. How will the public see this particular image: looking up? looking down? being surrounded? The public will experience the work within an ordinary part of their day; getting from one place to another. We had the opportunity to make this ordinary aspect of life a little more extraordinary.
Tell us about your experience collaborating together on this project. Do you have any plans for future collaborations?
Helen When the call for the Supertrain came out, I immediately thought of Kyla as a collaborator. Plus, I just couldn’t conceive of creating a project all about community gardens—alone. Kyla and I are neighbours in the Strathcona Rail Community Garden and both are print artists, so it just seemed perfect!
Kyla This collaboration with Helen has been eye opening and so rewarding. Discussions regarding particular imagery often made for more elevated decisions and work that has both our fingerprints on it. I have never experienced anything like it.