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Colette Campbell-Moscrop

Untitled

-Gouache, Graphite, Ink and Watercolour on Laid-Textured Paper

Nope

-Gouache, Graphite, Ink and Watercolour on Found Paper

Nope
Horrible Together, Full Circle
Contents
Poetry
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Robert Rothman

 

-- Ambassador To A Distant Kingdom In The North County

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-- The Monk's Halo

 

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Leah MacLean-Evans

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-- Blood Days Recipe

 

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Paula Bernett

 

-- Memory Consumed So It Was Never

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-- Quill and Brood

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Gordon Massman

 

-- The Master of Nothing

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-- My Appassionato

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-- Finnegan's Religion

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Naomi Ruth Lewinsky

 

-- To My Brother's Late Dragon Lady

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Marie Andree-Auclaire

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-- Closer Than One Thinks

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Joelle Barron

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-- Total Eclipse

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-- House Stuff

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Claire Matthews

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-- My Underwear Drawer Houses the Book of Mormon

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Claire Kelly

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-- Poem for a Woman I Made Up

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Benjamin Hertwig

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-- sunday mornings, after Afghanistan

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Eugenie Juliet Theall

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-- Other than a Paperweight

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Will Harris

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-- Imam Ali Shrine

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-- Kangaroo Wall

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Prose

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Mallory Tater

 

-- Heat Dream

 

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Liz Johnston

 

-- Public Transit

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Gardner Landry

 

-- Mayonaise

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Benjamin Dugdale

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-- Orlando Two Point O: Hashtag Forever Yung

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Artwork and Photography

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Gord Marci Jr.

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-- Typewriter With Note

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Allen Forrest

 

-- The New World Manbike 12 x 9 2016

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-- The New World Workers 2 Ink 15 x 11 2016

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Kerry Rawlinson

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-- Mistry Trees

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David Mutnjakovik

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-- Let it Begin

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Colette Campbell-Moscrop

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-- Untitled-Gouache, Graphite, Ink and Watercolour on Laid-Textured Paper

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-- Nope-Gouache, Graphite, Ink and Watercolour on Found Paper

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-- Horrible Together, Full Circle-Ink on Cardboard Paper

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Reviews

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Margaret Crawford

 

-- A Review of Kathleen McCraken's Double Self-Portrait with Mirror: New and Selected Poems (1978-2014)

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-- A Review of R. Aviars Utskins' The Hoosier Zebra and other "Poims"

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Horrible Together, Full Circle

-Ink on Cardboard Paper

About the Artist     

 

            Colette Campbell-Moscrop’s drawing-based art practice develops through observations about everyday life. Her drawings, as she works on them over time, are gradually stripped and transformed through multiple manipulations. Her depicted subjects vary greatly, from architectural spaces to the human form. In general, her process-driven work demonstrates an exploration of different techniques, playfulness and decision making. By following through with pre-established self-imposed rules, her work evokes strange and unfamiliar visuals while pointing to the everyday.

            Colette Campbell-Moscrop recently completed her undergraduate degree in Studio Arts at Concordia University in 2016.

            Instagram: colettecm_art

Moscrop
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