Stop Ahead, 1/3, Lithograph & Relief

Julie McIntyre’s

Road Stories
Turn Right or Left

Sharp Turn

She [McIntyre] speeds through the landscape, the images accumulating one on top of another. Signs, signal lights, streets, cars, trucks and buses all fuse in a cimematic blur of impressions. The prints are as rough as Robert Rauschenberg’s collages, a storm of intersecting ideas. Charles Mandel, Edmonton Journal, 1998
Steep Hill

No U TurnsNo U Turns
One Way
Divided Highway

 

Survey Crew Ahead, 2/4, Lithograph & Serigraph

  

 

Train Crossing, 1/1, Lithograph & Relief
  Julie McIntyre’s Road Stories employ perhaps the most persuasive symbol of contemporary society: the automobile.
And with it, the huge transportation infrastructure that has become the landscape of our vision and experience as far more persuasive than what we think of as our traditional ‘landscape’.
Richard Reid, The Gazette, 1998		  

 

Bus Flashing, Divided Hwy, 1/1, Lithograph & Serigraph

 

104:TransCanada, 1/4, Lithograph & Serigraph

 

Pavement Drop-off, H, 1/1, Lithograph & Serigraph

     
  He or she is transported into dry warm atmospheres, then showered with moisture at the journey’s end. Along the way, the chaos of conflicting signs, the smell of exhaust, the sweet aroma of grass, the urgency of the act of moving through and across, compels attention and triggers empathetic response. Here “everywhere is the same but somehow different,” and the things which in real life occupy a particular place are dislodged in order to freely associate and re-associate as memories of places (and phenomena) do after the fact.
Ann Rosenberg, Road Stories Catalogue, 1997
  
     

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