An extended presentation of the Audain Art Museum’s Permanent Collection, From Sea to Sky celebrates the collection’s evolution from its inception in 2016 to the present. Built on the generous donation of over 200 works by Founders Michael Audain and Yoshiko Karasawa, the AAM’s Acquisition Committee has since guided the holding’s expansion through purchase, commission, and donation, to almost 300 outstanding pieces representing the art of British Columbia. Carving, painting, and photography serve as the pillars of the collection, featuring notable works by artists active from the mid-nineteenth to early twenty-first century. Such a display offers a unique visual evocation of the cultural differences that continue to shape BC’s socio-political identity.

From Sea to Sky showcases familiar masterpieces alongside newly acquired and previously archived works of art. These pieces by artists from the province, and those inspired by local environs, are all housed in Patricia and John Patkau’s stunning example of contemporary West Coast architecture. Among the active carvers and photographers of note are Robert Davidson, Dempsey Bob, Jeff Wall, Jin-Me Yoon and Stan Douglas, while paintings by Emily Carr, AY Jackson and BC Binning add a historical dimension to this sweeping display. Works acquired from Karin Bubaš, Rebecca Belmore, and Russna Kaur are indicative of a mid-point in their respective careers and each have also been featured in solo exhibitions at the Museum.

The works of Los Angeles-based artist Charlotte Zhang are inscribed with the histories of petty criminals, rogues, ruffians, and indeed tireslashers – her contemporary variant on labels found as far back as Elizabethan Era moralizing “rogue” pamphlets. Such outlaws, she observes, threaten ideas of property and propriety that have long defined upright members of society; and yet, they also personify the fantasy of individualism and heroic citizenship. The rogue is both damned and heroized. The coney and the coney catcher are two sides of the same coin.

Two bodies of work are set in a dynamic relation in this gallery: Bloodsport/Playground Rules (2023—ongoing), a series of sculptures ‘ready-made’ by removing public bench dividers engineered to prevent people from lying down; together with Rogue Pamphlets (2025—ongoing), a new series of hand-sewn collages composed of images printed on fabric using the sublimation dye technique – a visual language that grew out of the mentorship Zhang received from Kandis Williams, artist and founder of the publishing platform Cassandra Press.

Zhang’s picaresque imaginary is further set in motion in her first feature film, Tycoon – set to premiere at The Polygon Gallery on February 12, 2026 – which the artist describes as “a deconstructed hard-boiled mystery about two young grifters coming of age against the backdrop of a near-future Los Angeles, marred by Olympics turmoil and cockroach conspiracies.”

Bobbie Burgers is a Vancouver-based artist celebrated for her large-scale floral works that explore themes of ephemeral beauty and refined strength through expressive, gestural abstraction. Her work captures the tension between decay and vitality, inviting viewers into a sensorial experience of colour and form. Originating in emotive and expansive brushstrokes, Burgers’ work extends from painting into collage and printmaking elements. In reconfiguring recognizable representations of floral forms, she contends with the long history of the still-life in western art, asserting an atmosphere entirely her own, while simultaneously challenging conceptions of femininity and domesticity.

As we enter late winter, with slivers of spring poking through the lengthening days, Burgers’ work offers contemplations on time and transition. Her work speaks to cycles—the lifecycles of flora and fauna, as well as cycles of human interaction and introspection. Assembly invites visitors not only to explore the lifecycle of an artwork, but also an invitation into the process of creation itself. Just as the life of a flower, which inevitably requires decay and decomposition, involves assembly and reassembly—nutrients blooming into new florals, florals into gardens—so too do the gestural marks, stains, drawings and prints emerging from Burgers’ studio transform.

This exhibition shares the importance and depth of art education in the Surrey School District. Participating artists range from grades one through seven. Artworks on display highlight a wealth of subjects, both personal and universal.

Working across mediums such as 3D geometric string art, papier mache, and painting to name a few, Art by Surrey Elementary School Students provides visitors with insights into the critical thinking and visual literacy skills of young developing artists.

Along with the accompanying text, the exhibition demonstrates how teachers connect with BC Education Big Ideas curriculum.

Rent it! Buy it! Love it!

We are excited to unveil the new 2026 Art Rental Collection with the Art Rental Show!

This salon-style exhibition will feature a great variety of techniques, styles, and subjects as diverse as the artists. Media include watercolour, acrylic, oil, and mixed media painting, woodcut and lithograph prints, photography, and more.

The works range in size from small to extra large – perfect fit for any space! Staging your home, decorating your office? Visit the show, find the work that moves you, and rent or buy it right off the wall! Monthly rental fees range from $10 – $60, with over 350 works of art to choose from.

The Polygon Gallery is honoured to organise the largest solo exhibition to date of artist, curator, and scholar Tania Willard. Drawing on her mixed Secwépemc and settler-Scottish ancestry, Willard has developed a collaborative, land-based practice, which attends to the history, present, and future of the land and community. The focus of this ten-year survey is her ongoing experiments with photography, as a technology of both colonisation and decolonisation. Combining new and existing works, and showcasing a broad and inventive array of photographic printing, materiality and presentation techniques, the exhibition materialises the artist’s paradigm-shifting historical scholarship and artistic research.

Willard considers photography as a medium and material that dates back millennia, not centuries. In her words, “Light has been making life, images, shadows, and reflections for billions of years. Those photographs are called stones – geological formations – the grandmothers and grandfathers embodied in the volcanic rocks used in sweat lodges.”

The title Photolithics (combining ancient words for light and stone) calls up Willard’s expansive notion of working directly with the sun’s changing rays, and with varied formations of soil, crystal, metal, and sediment. Throughout, Willard poses key questions about the confines of galleries and museums, juxtaposing these spaces with the forms of Salish basketry and kekuli (pit house) architecture simultaneously ancient and current. For The Polygon, she devises a distinctive treatment for the gallery’s windows, recasting the building as a “lens” and turning the sun’s rays into a “safelight” for future encounters with sensitive historical records. Committed to a practice rather than a fixed appearance, the exhibition will transform as the days lengthen and the weather filters available light.

Hannah Rickards’ artistic practice studies the relationship between perception and experience. Resistant to the construction of narrative, she employs a range of conceptual tools and media to create works that measure the limits of language and map conditions of uncertainty in our attempts to discern and describe the world. Rickards’ solo exhibition of new work at the Gibson, I am the infant and I am the bird, is informed by her relocation from London, UK, to an acreage in Syilx Okanagan territory in the interior of British Columbia. Life in this new context, with its markedly different tempo and scent—a rural valley thick with orchards, pastures, and lumber mills, encircled by rocky benchland—invoked a metabolic shift in the artist’s approach.

Rickards’ characteristically spare installation rewards a willingness to slow down: single channel videos capture brief glimpses of hummingbirds recorded in the soft grey light before dawn. A large-scale video work depicts footage gathered over years by an infrared trail camera erected in Rickards’ pasture. Triggered by motion, the camera does not differentiate between the types of activity it detects. Depending upon the duration of their visit, viewers may experience the erratic flight of a moth, a grazing deer that pauses to stare arrestingly at the camera or simply long stretches of wheatgrass nodding in the breeze. A series of photo-lithographic-and-silkscreened prints, created by Rickards using remote viewing—a paranormal practice of perceiving a distant or hidden subject without the aid of the senses—reconsider questions of landscape and place.

In its alertness to the agency of the world, I am the infant and I am the bird shares much with early interpretations of photography. For the first decade of its existence, the photographic image was understood not as “captured” or “taken” but rather as something “received from the world.” As William Henry Fox Talbot observed in an 1839 letter, “It is not the artist who makes the picture, but the picture which makes itself.” While the question of where and how we place our attention has always been fundamental to Rickard’s work, I am the infant and I am the bird invites an uncoupling from contemporary culture’s relentless “attention economy” to allow a consideration of how we might more carefully attend to the world’s ways of revealing itself to us.

Featuring: Jade Baxter, Dahlila Charlie, Dawn Marie Duncan, Ashleigh Giffen, Melissa Gosselin, Kwiis Hamilton, Marion Jacobs, Inez Londono, and Brenda Prince

Response is an annual program comprised of workshops led by and for Indigenous People, culminating in an exhibition of participants’ work at The Polygon Gallery. The program invites ways of responding artistically to historical and contemporary images of Indigenous cultures. This year’s participants had the opportunity to work with several inspiring artists and Knowledge Holders including: Tracey Kim Bonneau, Nova Weipert, Lindsay McIntyre, and Jake Kimble.

Marian Penner Bancroft’s work is deeply rooted in an exploration of memory, landscape, colonial history, migration, and identity. Her images often layer personal history with geography, functioning as visual documentation with poetic reflection. The work offers more than just observation—it evokes a sense of emotional and intellectual resonance.

Long Story is a multimedia installation that brings together photographs, videos, wall texts, and sound. The exhibition comprises both new works and selected pieces created between 2000 and the present. Each image and video is linked to the others to reflect the artist’s ongoing engagement with complex questions; questions ranging over a lifetime that are approached from diverse photographic perspectives and tied to a broader thematic investigation.

This exhibition opens space for deep contemplation. It highlights the interconnectedness of histories, places, and people, while embracing complexity. By engaging multiple senses and mediums, Bancroft encourages viewers to reflect on their own relationships with memory, land, and belonging.

Experience Whistler’s most extensive collection of community art all in one place!

Discover over 300 original 8 x 8-inch works by established and emerging talent from the Sea to Sky and beyond. From intricate metalwork and sculptural clay to oil on canvas and mixed media, the Anonymous Art Show showcases an incredible range of styles and disciplines.

The twist? Every piece is displayed anonymously. Spend the afternoon exploring, guessing, and perhaps even recognizing a familiar hand behind the work.

Whether you’re hoping to secure a piece by a sought-after local artist or simply looking for something special to bring your walls to life, the Anonymous Art Show is a rare opportunity to collect affordable original art.

Found a favourite? Art sales begin at our Anonymous Buying Night on April 10.

An art installation in a library? Poetry in the streets? Tiny artworks for the taking in a free little art gallery? Expect diverse art forms in unexpected places as festival host The Long Table Society and Burnaby’s creative community present StrideFest 2026, a celebration of curiosity, creativity and connection.

Enjoy visual and live performing arts, workshops, demos and more! With accessible and FREE family-friendly programming and experiences spreading across Burnaby, StrideFest is a colourful reminder that creativity happens all year long.

Let’s connect with the arts and with each other during StrideFest — not an art fair but an arts platform and arts showcase amplifying our city’s creative voices.

An art installation in a library? Poetry in the streets? Tiny artworks for the taking in a free little art gallery? Expect diverse art forms in unexpected places as festival host The Long Table Society and Burnaby’s creative community present StrideFest 2026, a celebration of curiosity, creativity and connection.

Enjoy visual and live performing arts, workshops, demos and more! With accessible and FREE family-friendly programming and experiences spreading across Burnaby, StrideFest is a colourful reminder that creativity happens all year long.

Let’s connect with the arts and with each other during StrideFest — not an art fair but an arts platform and arts showcase amplifying our city’s creative voices.