​                                  MYRNA PRONCHUK STUDIO


I am both a musician and contemporary artist,

and approach life and art (making) foremost as being an engagement of both an optical and aural experience.  I record with mediums of 2d, 3d. and 4d and utilize both sonic and visual markers to create work. 

I am interested in how we encounter the environment,

and our complex relationship we hold with it (both societal and individually); I find it curious to witness the narrative of human activity that occurs, with weighing elements of hegemony and individual responsibility in a (very real) delicate world.

Environment plays an important role of informing.

A place does influence what is taken or left behind: It can bind or instigate enthropy - to the point of developing a sustaining impression.  What we leave behind accumulates to become then, a collection of mutated materials-natural or produced to then, inform, all being telltale to its inhabitants that left it. 

In utilizing materials- in some of my work, more particularly in found objects (from the ordinary, 

and sometimes mundane parts of human activity), excavated from a specific area or place lead the narration of the work that I do.  These parts are ones that have sometimes been forgotten, mistreated or cast away to be gathered and re-created within sculpture construction to become then a (new) way of translating, deciphering, and understanding human responses - with reflection of responsibility to life and to that particular area environment.

When artifacts in contemporary society are combined

in a new way to illustrate purpose or importance, they can produce an  interactive landscape for the artist and further, the viewer to consider. This exploration of hegemony of humans (over each other and of our environment) can influence the power of individual responsibility.

The movement between varied mediums of painting and sculpture

create a gesamtkunstwerk. Shifting from drawings to paintings and to mix media, lend to continued ideas of the abstraction of the human experience. In obscuring confines of form and expression, the sonic and visual and the experience and imitation, it is my hope the viewer will question positions of dominance in how we treat our world and how we treat each other  through a line quadrant with color or tone made from a string from a machine.

The material presented is composed primarily of the most contemporary and recent work - since my return to the north and Canada after many years in the southern United States as well as present travels and artist residencies throughout Europe.