GOLLEY from page 7

with more than enough agency to estah-
lish her position within existing social
structures.” As aresull of this self-reflec-
tion two important themes developed in
Golley's work.

In reference to the agency of women
and content-laden work, Golley began an
investigation into the construction of
modern fairy tales. These inquiries led to
works like the Princess series based
loosely upon the common tale of the
Princess and the Pea. She analyses the
apparently harmless way in which these
tales affect us, particularly young giris
who learn inhibitions and passivity. Mod-
erm versions of these stories often enforce
such conditioning but as Golley peeled
back the layers to reveal the original raw
materials, she discovered that the women
were empowered and acted with agency
for themselves and others, It is partly
these multi-layered meanings that Golley
is exploring in the works such as the
Princess series,

Just as empowerment manifests itself
in Golley's art, it is also present in her
professional practice hy virtue of her

involvernent with the artist-run centre
Mentoring Artists for Woman's Art
(MAWA). This Manitoba based organi-
zalion encourages and supports the intel-
lectual and creative development of
women in the arts. A concept central 10
MAWA is mentoring through active par-
ticipation and example providing strong
role models for emerging artists. This
mentoring process culminated in the show
Ground Connections coordinated by
Golley in which three host artists invited
three other artists to exhibit, As Amy
Gogarty says “celebrating the invisible
network of support, women artists have
developed over the last 20 years.” The
exhibition showed at NCECA 1995 in
Minneapolis as well as in Winnipeg in
1996.

Golley has exhibited extensively
throughout Canada, United States and
abroad, Her work resides in numerous
public collections including the Canada
Council Ant Bank, Richmond Art Gal-
lery, the Banff Centre, University of Tas-
mania and the Canberra School of Art.

Hosting Trudy Golley allows us to
celebrate the internationally recognized

talent that resides in British Columbia.
Aaron Nelson

The author acknowledges Blair Marten
and Amy Gogarty, whose writings heavily
influenced the above texts.

BIOGRAPHY

Trudy Golley originally from
Revelstoke, B C, received her under-
graduate traning al ihe Kootenay School
of Art, Alberta College of Art and Uni-
versity of Calgary (BFA 1988). She was
a Participant at the Banff Centre for the
Arts in the winter cycle residency in
1988-89, From there she went on to mas-
ters studies at the University of Tasmania
in Hobart, Tasmania, Australia (MPA
1991), She has been invited to participate
in ceramic residences, lectures and to
give workshops in Canada, Australia,
Hong Kong and Malta. Golley has been
an instructor at the Alberta College of
Art, University of Calgary, University of
Tasmania, University of Manitoba and ts
currently teaching Design atthe Kootenay
School of the Arts, Centre of Craft and
Design in Nelson, BC.

See page 6 for her lecture and workshop

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