Between January and June Other Sights will share The Foreshore with a series artists who will occupy the space and populate it with the records, artifacts, artworks and other residue of their investigations. We have invited them to work in parallel with us here in the space with an eye to the possibilities this presents for exchange and synergy.





Visiting from her home in a relatively isolated community in rural Saskatchewan, while in residence, Kara Uzelman will explore the city as a hub of exchange for goods, services, culture and knowledge.  While in residence, Uzelman will consider possibilities for cultural exchange through alternate spaces that circumvent the need for expensive real estate and to investigate accessible formats with the potential to reach audiences both inside and outside of the networks involved in the production, commission, preservation, promotion of art.  Inspired by the ‘zine’ format, for the duration of the residency, Uzelman will work to conceptualize and develop a low-tech, self-realized printed art-work.  The content of this work will be developed in relation to the networks of exchange developed through Uzelman’s interactions with the city, while the printed form will be developed by making use of limited, economical and readily available tools, and materials.  

In support of the development of this work, Uzelman will host Monday evening gatherings to explore the wide-ranging theme “How can we feel powerful instead of powerless”.  These gatherings will be geared toward informal discussion and interpretations of the theme and are open to anyone interested in discussing, listening, or collaborating.



Mondays,  April  10, 17, 24


The Foreshore

222 East Georgia



Kara Uzelman

Stacked Bricks, 2017

collaged 4×6 digital c-prints





KARA UZELMAN (b. in Vanouver, 1978) lives and works in the rural, farming community of Nokomis, Saskatchewan. Interested in the self-sustaining potential of handmade and DIY culture Uzelman’s work engages with the processes of gathering, making and inventing as a self-directed study of her surrounding environments. Her provisional constellations of gleaned objects create alternate systems, cycles and networks. Often using wood, earth, paper, rope, outmoded electronic devices, and household remnants, her sculptures, collections and archives activate the narrative potential of objects and explore the immaterial qualities of the material world. Her working methods include folk techniques, field trips, internet research and peripheral fields of scientific study.

Since graduating from Emily Carr University in 2004, Uzelman has presented her sculpture and site-specific installations in group and solo exhibitions including those at The Power Plant, Toronto; Le Commissariat, Paris; Temporäre Kunsthalle, Berlin; and Mercer Union, Toronto. She has participated in residencies at The Klondike Institute of Art, Dawson City; Triangle, Marseille, France; and Mains D’oeuvres, Paris.



Current reading.

by Stan Rands, Privilege and Policy: A History of Community Clinics in Saskatchewan

Photo: Kara Uzelman