Exhibitions
The Energy Futures Portfolio Project
2024, March 1 - April 13. Harcourt House, Edmonton, AB. The portfolio is a collaboration among 60 printmakers, writers and energy experts, and guided by Alberta’s Energy Futures Lab. My contribution is a poem titled “Boys in the Patch,” a depiction of contemporary male-female relationships as situated in oil patch culture and an imagining of energy futures where boys and men aren’t sent to glorified jobs in tar sands work, and girls, women, queer, trans, and nonbinary folx aren’t subjected to hypermasculinized gaze and action. The poem came about in partnership with printmaker Heather Leier and exists alongside her companion print.
Also showing at VISAC gallery, Trail, BC. March 25 - May 2, 2024 and Leighton Art Center, Calgary. August 31 - October 27, 2024.
Hello Dreamland
2023, November 18. Duo show and co-production with Jovi Klak. Athabasca, AB.
My part of the show, Dreams of Hope and Despair, is a collection of linocut prints and three dimensional pieces assembled in response to our natural and social surroundings and how hope and despair show through them.
Consciously using what might otherwise be seen as unusable, these gatherings of found objects can start to create meaning when appearing in repetition. A sculptural piece includes bird-of-prey feathers collected on nature walks or errant screws and twine that seem to magically show up.
The Dreamland Quilt contains birch bark harvested from firewood burned in the stove that heats Lori’s house. Previously recorded dreams are typed onto semi-transparent paper and applied, where “imperfections” like typos, misspellings, and the cutting off of text all point to how dreams can be fractured, ethereal, and difficult to capture. The imperfections come to reflect how thoughts of both despair and hope are not perfect/ not complete/ not accurate: they are flawed too.
Dreamland quilt, L. Claerhout 2023
135 Fires
Shown in Hello Dreamland.
Summer 2023 began in late April when wildfires started burning in the forest near us. On the day I printed this piece, there were 135 fires burning in Alberta.
The orange circle was screen printed first on Stonehenge warm white paper. Next, a rendering of a blind contour self-portrait was carved and printed using a Woodzilla press in my home studio. 7” x 5”
Please contact for availability.
The Death of Face-to-Face at AU #1-3
These three monotype prints were in a group show on July 1, 2023 (with me for scale: they are 14x11” framed to 20x16”). I used a circular Gelli plate and office ephemera collected around the house in my grief and disappointment at the gutting of a local Athabasca University (AU) building earlier in the year. Showing them led to respectful conversations—including with people in positions to make positive change—about damage done, the inaccuracies of reporting, optimistic vision, and hope that can come from destruction and thoughtful criticism.
All three were personally purchased by a prominent AU executive member and are on display in their semi-public house.
“Collective” linocut print
Group Show, 2022.
Carved in March 2020 while on zoom calls (like the rest of the world), this linocut print is heavily influenced by the mid-century storybook illustrations of Tom Vroman and calls to our shared need to assemble.
Prints were inked at Edmonton’s SNAP (Society for Northern Alberta Printmakers) and Hamilton, ON’s Centre[3] workshops using Gamblin oil-based inks and Stonehenge 250gsm paper. 12.75” x 12” print on 15 x 15” paper.
Some colourways still available. Please contact for purchase.