Nowhere in Particular
Acetone monoprints, 2019-2022
Commorancy is a more formulated look around Saint John and other places within New Brunswick, places inquiring upon the haunting of lands – the ideologies and industries that dot the province be it an industrial township or a quaint farming town that used to be something more. The accompanying larger works labeled “Bricks” and “North-End” detail the failing housing structures and their kin, the upholstered Brick heritage homes of uptown. It is the commorancy of New Brunswick on full display.
The sea within the "C"
Various Prints
26.5" x 50" - 67.31cm x 127cm
Photographic transfertype on packing paper, vintage wallpaper, and carpenter's paper w/ coffee sleeves.
In the summer of 2022, Nat Cann participated in a residency with the Calgary Allied Arts Foundation's (CAAF) to find what fuels the sprawling city of Calgary, Alberta, a bustling place of quiet modernity within western Canada and the traditional territories of the Blackfoot Confederacy (Siksika, Kainai, Piikani), the Tsuut’ina, the Îyâxe Nakoda Nations, the Métis Nation. This was to be a new body of work entirely separate from current material, something livelier than the current lonesomeness of the Atlantic. Not that Nat was seeking a relationship to the east coast as the city is far too big to pinpoint anything that particular. What blossomed, perhaps in vain, was a similarity to previous projects wherein towering pillars of residence, commerce and capitalised prospect were found to be upheld by the local establishments and a startling amount of coffee. Using the very same products used to fashion these buildings both in construction and décor, Fuel is an inspection of glass pillars built atop localized establishments and the people, things, and actors who dwell between such venues.
Fuel was made possible by the Calgary Allied Arts Foundation's (CAAF) national residency program, as well as ArtsNB's assistance funding.
Share the road
Three unique Collagraphs sized to scale with broken bike tires, unframed.
Akua soy-based ink infused with rubber powder up-cycled from shredded bike tires.
109.22cm x 109.cm Each – Unframed.
Preserving the memory and passion of Ellen Watters through an epic cycling event, art gathering, and legacy memorial fund for young athletes in New Brunswick.
Passed in New Brunswick of 2017, Ellen’s Law fines culprit drivers a small fine and three demerit points against their driving privileges. The bill operates under differing names province to province but remains essentially identical in allotting a minimum of 1-meter distancing when passing cyclists. It’s a good measure to impart safety to both those behind the wheel and upon the road, but still leaves gaps for cyclists to ensure their own wellbeing; hand signals and appropriate road gear provide safety to the rider, but a bicycle is still a delicate mechanism especially when traversing the narrowness of roadways instead of shoulder based and/or separate bike lanes as implemented in more structured cities and nations. And while many municipalities throughout Canada have implemented the 1-meter minimum, it’s still only the bare minimum.
Passage specifies a haunting inspection upon Ellen’s Law. This inquiry regards intentions and impacts upon travellers by speaking through aftermaths, imagery of bike tires broken, bent, or beyond repair. Using printmaking forms, a series of 3 distinct to-scale tires have been fashioned through intaglio collagraph prints upon 1-meter square paper using a rubber infused ink made from shredded tires.
