Robin Smith-Peck : Exhibitions


March 14 - April 06, 2019



Please join us for the Opening Reception of Robin Smith-Peck’s latest exhibition: Anthologies.

Opening Reception: Thursday, March 14th, 2019 from 7 – 9 pm

Artist Talk: Saturday, March 16th, 2019 @ 3 pm


In the visual clutter of my studio I tiptoe through glimpses of meaningful relationships, chance encounters between personalities bumping up against, nudging, confronting, touching, sideswiping, squeaking by, clinging to, hugging, side-by-each, cheek-by-jowl, hand-in-hand.

This exhibition presents the artifacts of my endeavours to pattern a response. – Smith-Peck

You know that moment when a pattern emerges that seems to unearth the meaning of something? Like when we sense a pattern of behavior, or thought, or weather and we shift to a place of insight and understanding? I love that moment and so I find myself seeking patterns in everything around me as a way of trying to comprehend the relationship of cause and effect. Composing images is a process of making a mark that causes us to make another mark that produces an effect that compels us to make another mark and so on and so on. It is pattern creation and I am absorbed by the play of those relationships. I see my role as someone who makes working objects for others, companions in the silence of our own reverie. – Smith-Peck

Robin Smith Peck (MVA University of Alberta) has spent most of her career in northern Canada. She grew up in Goose Bay, Labrador and has taught printmaking in the remote communities of Holman, Cape Dorset and Iqaluit. Originally born in St. John’s Newfoundland, and now residing in Alberta, Robin Smith-Peck has exhibited her artwork across Canada and internationally. In 2013 she was inducted into the Edmonton Arts and Culture Hall of Fame.


Image: Aaron’s Garment 498, 2018, Ink, Acrylic, Beeswax, Resin and Paper on Panels, 30” x 60” x 1”

The Steamfitter's Guide

June 23 - July 12, 2016

Robin Smith Peck (MVA University of Alberta) has spent most of her career in northern Canada. She grew up in Goose Bay, Labrador and has taught printmaking in the remote communities of Holman, Cape Dorset and Iqaluit. Currently she is a Sessional Instructor at the University of Alberta. Robin’s practice includes composing with invented theoretical forms to create meaningful sensations.

“The Steamfitter’s Guide” is a product of close observation and careful reflection. This body of prints begins with one visual reference (a book displayed with the exhibition) that is examined, expanded, and layered to produce richness and complexity in images that artist Robin Smith-Peck hopes will show that we may find marvelous things, even in places or times where it is unexpected.

In Smith-Peck’s work we are reminded of cloud forms in weather map scenes. We can think about these vaporous objects as the evidence of a great shift having taken place – matter changed from one state to another by some magnificent force. These images chart paths and document evidence of these forces, as metaphors for how we may be mentally transformed by turbulence in our lives in spiritually significant ways.

 Questioning the familiar in my mother tongue

June 14 - July 03, 2014



An exhibition by print-artist, Robin Smith Peck, that focuses onmaking the familiar unfamiliar in order to provide opportunities for new perceptions.


The phrase ‘mother tongue’ references my first encounter with the language of ideas…the printed image. For as long as I can remember I have been enthralled with this visual language. Beginning with the intricate web of etched lines describing theflood in the family bible to following mapped coastlines with myfinger, this medium has provided a foundation for my understanding of the world. The history of printmaking is a history of propositions, postulations, play and prayer. The profound need to ideate these aspects of human experience and share them led printmakers to create a visual vocabulary of image, notation, annotation and commentary, essentially the sign system of this graphic medium.


So whether it’s a diagram of a hot air furnace or the memory of childhood landscapes, I find myself questioning the familiar presentation of these images by making the invisible visible through the language of printmaking. The hope is that through this process static images are created that can become quiet companions for people. Hanging on the wall or seen in the changing light of day,they may act as places of perception, remembrance and contemplation.