• Loree Ovens, Lumos Particles installation. Mixed media, Harbourfront Centre, 2018.
  • Loree Ovens, Micrograph, 2007, copper etching on kozo, edition of 10, image size: 6.25" x 4.5", paper size: 6.5” x 5".
  • Pascaline Knight, Untitled (Cahier), 2018, screenprint.
  • Pascaline Knight, Untitled (Cahier), 2018, screenprint.

Hexagon Fellowship Artist Talks 2018

December 7, 20186:00pm - 8:00pm

Through the support of an anonymous donor, the Hexagon Special Projects Fellowship Residency provides an annual fellowship to support a mid-career or established Open Studio Artist Member through the provision of six consecutive months of studio time to create and complete a specific project.


2017-18 Recipient: Pascaline Knight

Pascaline Knight weaves disciplines such as printmaking, micro-publishing, writing, concrete poetry, drawing, stop-motion animation, and performance featuring the book object as a vehicle for non-semantic narratives.

During the Hexagon Fellowship residency, Knight used the Standard Cahier Canada student exercise book to deconstruct and examine the effects of standards and their consequences in our daily environment, specifically, by using the red margin and blue lines to demonstrate how implicit standards (within language and technology) regulate thought.

Knight states:

During my Hexagon fellowship (i) used the notebook commonly known as the Cahier Canada to deconstruct and examine the effects of implicit standards in language and technology. Through this simple object used in primary school to learn to write, there is an implicit dominance of the right-handed user. (i) made an edition of 10 packets of 4 Cahiers and reconfigured their basic structure, the map of Kanada, the bilingual component, and the format.

How do these implicit structures of language affect our existence, our behaviours, our thoughts? In our humanity, how can our differences be a point of departure, and transcendence?

Knight holds a Bachelor in Studio Art from Concordia University and an MFA in Interdisciplinary Art, Media and Design from OCADU. She has exhibited extensively nationally and internationally, participating in self-publishing art book fairs Tirage Limité (Lausanne, Switzerland) and Toronto Art Book Fair (2017), as well as GRAFF: Le Livre d’Artiste Repensé at the Bibliothèque et Archives Nationales du Québec (Montreal, 2017).


2018-19 Recipient: Loree Ovens

Loree Ovens specializes in intaglio techniques: especially copper etching, aquatint, dry point and collagraph. Primarily working with Japanese Washi paper and often combining the use of surface design techniques for textiles, Ovens’ fascination with line, pattern, and architecture continues to inspire her work.

Focusing on the natural world, Ovens’ will photograph plant, sand and water samples in search of one-celled microorganisms. Interpretations of her findings will be the basis of the work she create during her residency.

Ovens states:

I thrive on exploring new ways of working and pushing boundaries of what could be realized in my creative process. I have always been fascinated with science and the natural world. Using a digital camera microscope I plan to take photographs of plant, sand and water samples. Interpretations of my findings will be the starting point of the work that I would create at Open Studio, through etching, embossing and screen.

My inspiration for this project evolves around the work of Günter Haese, a German sculptor and printmaker linked to kinetic art. The intricacy of Haese’s kinetic sculptures in metal energizes me to look at printmaking beyond a two dimensional form.

Ovens studied Fashion Technique and Design at PEI’s Holland College. She continued her studies and received an arts diploma from Sheridan College, SOCAD, majoring in fabrics. Subsequently, Loree had a two-year residency in the textile studio at the Harbourfront Craft Studio. In 2008, she earned a BFA in Printmaking from OCADU and began printing at Open Studio. She is represented by David Kaye Gallery. She has shown in national and international exhibitions in Canada, Japan, United States, Taiwan, Australia and Scotland. Her work is part of both private and public collections.

.