Jocelyn Barrable Segal

Born in Montreal, Quebec, Jocelyn received her Bachelor of Interior Design (1978) and Bachelor of Fine Art Honours in Printmaking (1983) at the University of Manitoba. She continued her studies at Louisiana State University in Baton Rouge, LA, graduating with a Master of Fine Art in Printmaking (1986).

An inveterate world traveller (an Air Canada flight attendant since 1979) Jocelyn portrays elements of unique landscapes in her work, coupled with the concept of constant state of flux. The viewer may infer elements of motion within the varied landscapes. Recent work represents a conscious attempt to eliminate surface messages. The artist’s love of drawing and pure colour is seen in the floral portraits. The flowers seem to confront the viewer with a direct “here I am” attitude.

“You don’t rave over it or read messages into it. You just look at that bully little flower-Isn’t that enough?” John Marin

Jocelyn has taught a variety of printmaking classes and has received many awards and honours for her lithography, including a major Canada Council grant, Manitoba Arts Council Awards scholarships from the Banff Centre for the Arts, and first prize in many Air Canada art shows. Exhibited nationally and internationally, her work may be found in private and public collections in Canada, the United States, Europe, Bermuda, New Zealand, and Asia.

Jocelyn creates presently at Malaspina Printmaking Society on Granville Island, Vancouver, and B.C. Canada.


EDUCATION

1986 MASTER OF FINE ARTS, Louisiana State University, Baton Rouge, LA, Major in Printmaking, Thesis: Alternate Landscapes
1983 BACHELOR OF FINE ARTS, University of Manitoba, Winnipeg, MB, Honours in Printmaking
1978 BACHELOR OF INTERIOR DESIGN, University of Manitoba, Winnipeg, MB

AWARDS & WORK EXPERIENCE

1990 – present Member MALASPINA PRINTMAKING SOCIETY, Vancouver, BC
2006, 2004, 2002, 2000, 1999 MALASPINA PRINTMAKING SOCIETY, Instructor, Introduction to Stone Lithography, Vancouver, BC
2002 MALASPINA PRINTMAKING SOCIETY, Instructor, Lithography 11, Vancouver, BC
2000 VANCOUVER PLAYHOUSE INTERNATIONAL WINE FESTIVAL, IMAGE DESIGN AWARD
1987–2000 AWARDS ART SHOW, AIR CANADA, Best in Show 1987, 1995
1994 MONOPRINT WORKSHOP, VAG Members, Vancouver, BC
1989 SINGAPORE EXCHANGE PROGRAMME, Singapore
1988-1989 CANADA COUNCIL PROJECT GRANT
1988-1989 THE BANFF CENTRE, Scholarship - Printmaking Technician, Winter cycle; Summer cycle 1982, Banff, AB
1987-1988 UNIVERSITY OF MANITOBA, Sabbatical Replacement, ARTSPACE, Studio awarded - CARFAC 1986-87, Winnipeg, MB
1983-1988 MANITOBA ARTS COUNCIL, Awards
1984-1986 LOUISIANA STATE UNIVERSITY, Teaching Assistantships, Lithography; Basic drawing 1985, Baton Rouge, LA
1986 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS, Monitor, Deer Isle, MA
1985 BATON ROUGE ART LEAGUE SCHOLARSHIP, Baton Rouge, LA
1993 MASTER PRINTMAKER, Joe Norman, NY; Michael Berg, NY 1985; Cima Katz, NM 1986
1978-1979 EATON’S CONTRACT SALES, Designer, Winnipeg, MB
1977-1978 M.M. DILLON CONSULTING ENGINEERS, Draftsperson, Winnipeg, MB

EXHIBITIONS

1998-present THE MALASPINA PRINTMAKERS ANNUAL SUMMER SHOW, Malaspina Printmakers Gallery, Vancouver, BC
2007 BURNABY ART GALLERY, 30 x 30 (Invitational) Malaspina Printmakers 30th Anniversary Show, Burnaby, BC
2006 THE PENDULUM GALLERY, Malaspina Printmakers Show, Vancouver, BC
2004-2006 JOIE GASTRONOMIC GUESTHOUSE & FARM COOKING SCHOOL EXHIBITION, Naramata, BC
2005 ISLAND INKS (INVITATIONAL), Group Exhibition, Vancouver Printmaking Studios, Federation Gallery, Vancouver, BC
2003, 1999, 1997, 1995, 1993, 1991 101 PRINT SHOW, Malaspina Printmaking Society, Vancouver, BC
2001 DSI PERMANENT EXHIBITION, 500 Rene-Levesque Q, Montreal, QC
2000 QUEEN ELIZABETH THEATRE, “Bully Little Flowers”, Vancouver, BC
2000 MALASPINA PRINTMAKING SOCIETY exchange exhibition with OM Print Center, Yokohama, Japan 1998-1999 FRAN WILLIS GALLERY, North Park Building, Victoria, BC
1997 LATITUDE 490, The Watch House, Balmain, Australia, Impressions Gallery, Perth Australia
1990-1997 THE PRINT CONSORTIUM, Canadian Printmakers Exhibition, St. Joseph, MO
1996 ANNUAL MEMBERSHIP SHOW, Malaspina Printmaking Society, Vancouver, BC
1996 GREATER MIDWEST XI INTERNATIONAL EXHIBITION, Missouri State University, USA
1995 PAPI’S RISTORANTE ITALIANO, Solo Exhibition, Steveston, BC
1994 VANCOUVER ART GALLERY, Auction, Vancouver, BC
1994 EMILY MURPHY HOUSE, Auction, North Vancouver, BC
1993 JCC COMMUNITY CENTRE, Auction, Vancouver, BC
1993 BODY WRAP, Whistler, BC
1993 EASTERN EDGE GALLERY, Collaborative Print Show, St. Johns, NFLD
1991 IL FIASCO ITALIAN RESTAURANT, Solo exhibition, Bellingham, WA
1991 ALBERTA PRINTMAKING SOCIETY, Group show, Edmonton, AB
1991 LE CENTRE CULTUREL FRANCO-MANITOBAIN, Solo exhibition – Voyages, St. Boniface, MB
1991, 1989 MEDICINE HAT PRINT SHOW, Catalogued, Medicine Hat, AB
1990 HUNTINGTON HOMES, Solo exhibition, Winnipeg, MB
1989 WINNIPEG INTERNATIONAL AIRPORT, Group show
1988 L'ALLIANCE FRANÇAISE DU MANITOBA, Exhibition, Winnipeg, MB
1987 GAS STATION THEATRE LOBBY, Solo Exhibition, Winnipeg, MB
1986 LOUISIANA STATE UNIVERSITY, Thesis exhibition - Alternate Landscapes, Baton Rouge, LA
1985 NORTHWESTERN MICHIGAN COLLEGE, Group exhibition, Traverse City, MI
1983 GALLERY III – UNIVERSITY OF MANITOBA
1982 JANET IAN CAMERON GALLERY, Under Thirty Show, Winnipeg, MB

RENTAL SALES PROGRAMS

1990-present Winnipeg Art Gallery
1990-present Edmonton Art Gallery
1996-1999 Burnaby Art Gallery
1997-1998 Montrèal Musée des Beaux Arts

STATEMENT / TECHNICAL NOTES

Since the late 1970’s, I have been devoted to the art of printmaking, my work focusing on the formal aspects of developing the medium of lithography. The lithograph, simply put, is a drawing etched on stone slab. It is a direct drawing process; a process by which the artist draws in reverse on a prepared limestone with grease pencils or greasy substances. The drawing is then fixed, or prevented from spreading by applying a chemical mixture of gum Arabic and nitric acid. In order to pull a lithographic print, the stone is thoroughly dampened, since the key principle behind a lithograph is the natural apathy of grease and water. When the greasy ink is rolled over the damp areas of the stone, it attaches itself only to the areas of the design you have drawn and etched.

“Pulling a print” means that the piece of paper is pressed against the stone which is placed on the bed of a printing press. As the bed rolls forward, the ink on the greasy parts of the stone (i.e. image) is transferred to the paper. To create a multi-colour lithograph, each colour must be drawn separately on the prepared stone: then printed, thus overlapping colours. Each pull of an image changes the lithograph slightly (intensity of colour, alignment, etc) as the colour shape and lines overlap thereby manipulate and refine the lithograph.

To create a lithograph, I begin with an element (predominately a floral or vegetal shape found in nature) then unload new nature shapes to exaggerate or enhance the existing shapes. With this new-found information, the lithograph re-invents itself. Unlike painting, anything can happen with lithography. It is for this reason, I find it creative and stimulating.

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