Natalie Gerber Studio

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Contemporary textile design – handcrafted in Canada. Web - www.nataliegerber.ca

Contemporary textile design – handcrafted in Canada – embracing an ethic of environmental responsibility, with a passion for community initiatives in support of sustainable futures.

24/09/2026

//ANNOUNCEMENT//

Closing reception and panel discussion for 'From Campus to Community'. An exhibition celebrating creative journeys and connection in celebration of AUArts 100 and cSPACE's 15 years.

September 9 – 28, 2026
cSPACE Marda Loop, 1721 29 Avenue SW | Hallway Galleries, Levels 1–4

Closing Reception & Panel Discussion
September 25, 2026 | 6:00 – 9:00 PM
Studio Theatre (Level 1), cSPACE Marda Loop

I'd love to see you, I'm looking forward to being part of the panel discussion as well.

Come find me!

18/09/2026

//SPOTLIGHT//

My time at Medalta this past summer gave me space to focus on process and making, and
to strengthen my hand within the studio.

Alongside the porcelain studies I developed there, I've also created a limited edition of 21 rock pieces, fired using the soda firing method, where soda ash is introduced into the kiln at peak temperature, vaporizing and settling onto the surface of each piece to create a natural, glassy glaze with unpredictable, flashing variations.

No two pieces are the same.

Come see this body of work in person at the Alberta Craft Council in Calgary.

SPOTLIGHT Reception: Stillness
Saturday, September 19, 2026 | 2–4 PM
Alberta Craft Gallery, 1721 29 Ave SW

I would love to see you there💫

17/09/2026

//THROW BACK//

My textile work began as an investigation into pattern and its relationship to my body. The
tension within this work drew me to ceramics, and porcelain specifically, as a way to ground the textile forms and explore the gap between how a material looks and how it behaves. Slip casting became central to this exploration, and from May to June I spent time in residence at Medalta's International Centre for Contemporary Ceramics, developing a series of porcelain studies that examine weight, transparency, and fragility.

The modularity and repetition of this ceramic process echo the pattern-making and attention to material surface already present in my textile work. Just as those pieces expose their pins and stitches, the seams left by the mould map the object's construction onto its surface rather than hiding it. Left unsmoothed, these lines resist the idea that a finished object should erase the evidence of its own making.

Slip casting, in this sense, becomes a way of holding the trace of process and touch within the object itself. A quiet record of the hand that made it.

01/06/2026

//MEDALTA//
Studio happenings.
Exploration.
Research and process as the work.

25/05/2026

//GATHERING//

Two weeks ago, I had the opportunity to visit the Alberta Foundation for the Arts collection as part of my ongoing research for Gathering, the exhibition I am developing through the AFA Emerging Curator Fellowship. Spending time with the collection in person was both grounding and expansive — a reminder of the depth of artistic practice that has shaped Alberta’s visual culture over decades.

As I continue to think through this project, I keep returning to a passage from the AFA’s 1973 annual report, written just one year after the collection was established: “The spectrum of the visual arts is almost unlimited… We are concerned that our acquisitions must recognise a broad cross-section of the works of Alberta artists and that public appreciation should be a consideration.”

What struck me most was not only the breadth of vision articulated in those early years, but the emphasis on artists, community input, and public engagement as foundational to the collection itself. That spirit continues to resonate deeply with my own approach to curatorial practice.

These experiences frame the exhibition I have proposed to the AFA as an approach shaped by both personal history and sustained community engagement. Experiences of displacement inform my ongoing search for connection and a deeper commitment to gathering artists and audiences around material and process.

The fellowship provides an opportunity for a more focused exploration of how exhibition-making can function as a site of exchange, dialogue, and collective presence.

I’m grateful for the care and stewardship behind the collection, and I look forward to continuing to research the works and histories that will shape this project moving forward.
1991

22/05/2026

//LIGHT//
Mornings at Medalta. Molds, shadows, rocks... perfection in imperfection.

"There is a crack, a crack in everything / That’s how the light gets in." Leonard Cohen

18/05/2026

//REFLECTION //

“Everything that was broken has forgotten its brokenness.” — Mary Oliver

A blissful week caught between the dust of and the grace of the .1991 art collection.

Fragments of time telllling their own quiet stories.

Humbled ✨️

31/03/2026

//AFA EMERGING CURATOR FELLOW//

I am pleased to share that I have been selected for the Alberta Foundation for the Arts’ Emerging Curator Fellowship. Over the coming year, this opportunity will unfold through the exhibition Gathering, to be presented at the AFA art house gallery in Calgary.

Gathering will take place in the spring/summer of 2027 and positions the body as both the tool and the site of learning and expression. The exhibition will highlight how materials and processes carry meaning, inviting reflection on how the body perceives, interprets, and connects with the world. Building on my creative and curatorial practice, which centres community and embodied experience, Gathering cultivates connections between visitors, artworks, and the broader cultural landscape, emphasizing the body as a site of perception, understanding, and shared human experience.

For further information about the AFA art house, AFA Art Collection and AFA Emerging Curator Fellowship follow the link in bio✨️

30/03/2026

//EVOLVING CONVERSATIONS//

A marker of this moment—where I’m learning to speak about my practice in new ways, and sharing not just the work, but the maker behind it.

For the past two decades, my practice has been rooted in textile printing for functional, everyday applications. Recently, this focus has expanded into contemporary art, exploring experimentation and large-scale, site-responsive work. Since graduating with an MFA in Craft Media, I’ve been learning how to talk about my creative practice in new ways. This past year has marked a period of transition, opening space to engage with broader questions of embodiment, materiality, and public encounter.

I’ve come to see my practice as threefold—maker, researcher, and educator—a generative cycle in which each role informs and enriches the others. I’ve learned that I need balance across all areas of my practice in order to feel fulfilled, and that each role has something essential to teach me. I am grateful for this evolving conversation with my work, and excited to share where it leads next.

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http://www.nataliegerber.ca/

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