Processes of Remediation: art, relationships, nature


This website shares the research and process of Alberta-based artist Alana Bartol as she develops a new body of work through an online residency with University of Lethbridge Art Gallery. The resulting artworks will be presented in a solo exhibition from January 21 through August 26, 2021 at University of Lethbridge Art Gallery curated by Josephine Mills.


In a time of ecological crisis, when we have choices to make about protecting wildlife, lands and watersheds, how can we envision and help secure a future for this place where the coal stays inside the earth? How do we imagine ways forward that are not predicated on the continued destruction of the environment rooted in resource extraction and ongoing settler colonial violence? How can art play a role in this process?

Processes of Remediation takes the concept of environmental remediation as a starting point to explore the past, present, and future of coal mining in the province colonially defined and named Alberta. Although the province of Alberta is set to phase out coal-fired electricity by 2030, it continues to see coal in its future. As of June 1st, 2020, the Kenney government rescinded a Coal Policy established in 1976 that restricted open-pit coal mining in ecologically sensitive areas including Alberta’s Rocky Mountains and Foothills.


Bartol's research and resulting artworks centre around the proposed Grassy Mountain Coal Project. Located in Southwestern Alberta's Crowsnest Pass region, Grassy Mountain is the site of an open-pit metallurgical coal mine proposed to start operating as soon as 2021. If approved, it is projected to extract 93 million tonnes of coal from Grassy Mountain over the next 22 years. Through engagements with past and possible future sites of coal mining within the Grassy Mountain Coal Project footprint, Bartol examines the impacts of coal mining on wildlife, watersheds, ecosystems, and plants. The resulting site-responsive artworks including drawing, video, sculpture, participatory art, and installation. 

The project draws on Bartol’s work with dowsing and the history of dowsing in connection to mining/resource extraction. Specifically, Bartol researched Martine de Bertereau, one of the first (recognized) female mineralogists and mining engineers in 17th century France who traveled Europe in search of mineral deposits utilizing specialized divining instruments and other techniques including botany. She was accused of witchcraft and died in France while in prison. The story of de Bertereau is a complex one that points to the violence of resource extraction and the development of capitalism that she both participated in and was killed by. In her artwork, Bartol uses dowsing and the figure of the witch to ask us to reconsider consumption-driven relationships to the earth and what are known as ‘natural resources.’

Workshop participants learn about dowsing and digging with artist Alana Bartol and Head Horticulturalist Kara Matthews at the Coutts  Centre for Western Canadian Heritage. Photos:

Bartol’s research has also included using the Galt Museum Archives in Lethbridge, Alberta to study relationships with the coal deposits and mining history around Lethbridge. The gardeners at the Coutts Centre, particularly Kara Matthews and John Stoll, have provided extensive knowledge about local plants and soil health. Elders and Knowledge Keepers Mary Fox, Bruce Wolf Child, Monte Little Plume, Andrea Fox, and Melissa Shouting have shared knowledge about Blackfoot protocols with the land and plants. Bartol has been mentoring emerging artists Kylie Fineday and Angeline Simon, who are each developing solo projects for the uLethbridge Art Gallery for 2021.


I want to express my gratitude and thanks to my collaborators Bryce Krynski and Latifa Pelletier-Ahmed, Josephine Mills and the staff at uLethbridge Art Gallery, and everyone that has made this work possible by sharing their time, knowledge and insights including Elders and Knowledge Keepers Mary Fox, Bruce Wolf Child, Monte Little Plume, Andrea Fox, and Melissa Shouting. Thank you also to Kara Matthews, John Stoll, Kylie Fineday and Angeline Simon. Thank you to Canada Council for the Arts, Alberta Foundation for the Arts, and Calgary Arts Development for their support for this work. 

Thank you.

About the artist

Alana Bartol comes from a long line of water witches. Her site-responsive works explore divination as a way to question consumption-driven relationships to land, water, and what are colonially named 'natural resources'. Through her work, she creates relationships between the personal sphere and the landscape, particular to this time of ecological crisis. A multidisciplinary artist with a B.F.A. from the University of Windsor and an M.F.A. in Sculpture from Detroit’s Wayne State University, her work has been presented in festivals and galleries nationally and internationally. In 2019, she was longlisted for the Sobey Art Award representing Prairies and North. Of Scottish, German, English, French, Irish, and Danish ancestry, Bartol is a settler Canadian currently living and working in Treaty 7 territory in Mohkínstsis (Calgary), Alberta where she teaches at Alberta University of the Arts. Photo:






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Thank you to Canada Council for the Arts, Alberta Foundation for the Arts, and Calgary Arts Development for their support for this work.