2002-Hildebrand-Wells-Project-34x24.jpg 2005-Hildebrand-Metropollination-48x36.jpg 2006-Hildebrand-The-Last-Upper-36x36.jpg 2010-Hildebrand-Damn-Nation-24x24.jpg 2011-Hildebrand-The-Apocalypse-Are-Coming!-36x36.jpg 2011-hildebrand-The-Long-Way-36x24.jpg

A vibrant survey of Yukon's own Meghan Hildebrand.

Also on display Alison McCreesh: They call us squatters and Nunavut's Culture on Cloth


Artist Statement:

A visual artist with no plan B, I leapt straight from art school graduation into full-time production.  It feels odd to be presenting a retrospective at the age of thirty-four, however, I've held onto some of my favourite pieces over ten years, and that collection grew into this exhibition.

I am grateful for the excellent instruction I received from working artists at the Kootenay School of the Arts.  They gave me keys I still depend on, which have become mantras.  Elevate the mundane.  Work in series.  Don't get attached.  Negate!  Limit your palette.  Always look for new opportunities.  Collect rejection letters,

My life, in short.  Born and raised in the Yukon by my artist Mom and miner Dad.  I left Whitehorse for Nelson at nineteen and had the time of my life at art school, interrupted by a potent year at the Nova Scotia College of Art and Design.  Took on a full-time painting practice, made a couple life-altering trips to Europe, got married, and discovered the Sunshine Coast town of Powell River, mill town cum affordable haven for artists, and pushed down some roots.  I've hungrily searched out art everywhere I've been, and all I've experienced has come to shape my work.

In putting together this collection, it has been interesting to look at my own work chronologically for the first time.  Ten years ago I tried to make grown-up paintings.  Now I make an effort to let the child-me charge ahead.  One thing I see hasn't changed is the default theme of landscape and the sense of passage through it.  So often my paintings become a version of the childhood dream of searching a familiar place, that is not itself, for something that is never revealed.

I have tried not to analyze my work too much, afraid of dulling the spark that gave it life, or limiting the potential for interpretation.  I don't try to offer a message, I just offer my view.  I want to enjoy the process and the product, and to present an opportunity to understand the art through the lens of ones own experience.

2011 saw a fracturing of theme.  It was impossible to select a single work or two to represent the year.  After the creation of paintings in the multi-storied style of quilts, which included the painting The Apocalypse Are Coming!, I bounced to singular narratives in pared-back compositions in a series called Tell It!, represented here by The Long Way.  In rebellion to the efficient aesthetic of Tell It!, I loaded every symbol and technique I've collected onto the painting surface in an explosion of brushwork which resulted in the painting Centrefold..

This year I am lightening my load in order to be ready for a new adventure.  I want cultural immersion and exposure to art I never imagined.  I'll be sure to report back.