Around her are a Seripop poster, Honest Ed’s sign, the 1968 Skidoo ad campaign in calendar format, a Kitchener-made Ruspan brochure circa 1952, a Richard Florida buzzterm, CN Railways clock, two litres of No Name brand something-or-other, a call for gender pay equity, studio cat, and the original Littlest Hobo title card. In her desk: Wallpaper, Shift, and Applied Arts mags, a 1955 Eaton’s catalogue, Naomi Klein’s No Logo, a box of “pre-1940s ads, weird racist shit and pro-war posters,” a Northern Electric Baby Champ radio, the ’76 Olympics, Canadian Standards Association, Transcanada Airlines, National Film Board, CBC and Parks Canada logos, Ontario accreditation, a brayer, Lepage’s glue, hot wax paste-up machine, Rush’s 2112, pastels, Microsoft’s Paint ’98, and a business card for the local all-night snowshoe repair guy. On her upper body: a can of Quebec maple syrup, the City of Calgary, Manitoba Tourism, Centennial and Parti Québecois logos, a 1950s copy of Maclean’s, Danesco GLO-UP lamp, “Canada” letterform, a Hasselblad 500 EL/M (not made in Canada, but still gorgeous), a Graphic Designers of Canada badge, the Robin Hood Flour head, a love for architect Arthur Erickson, a Teenage Head “Official Fan Club” badge, a pack of Windsor salt, NSCAD degree, bar of Turkish Delight (soon to be Big Turk), Expos, CCM, and Bricklin logos, and a tiny tiny trophy for “Poster of the Week” from the now-defunct but Calgary-based Gigposters.com. On her legs: a copy of the Globe & Mail, metric/imperial ruler, the Queen on a stamp, the old and new Canadian flags, some Nutty Club candies and an Expo ’67 info-request postcard.
Dimensions include a 1.5" margin. Printed in an open edition, signed and dated on reverse.