Known for his meticulously rendered sculptures of social architectures — from bars and bookstores to clinics and changerooms — Douglas Watt’s work takes up the complex relationship between public space and the construction of self. Building on legacies of appropriation, assemblage and the readymade, Watt’s practice draws on quotidian materials and forms, producing model, set and prop-like works that engage questions about the performance of everyday life.In Mayor of the Village, Watt brings together a series of new and recent works that find their point of departure in Vancouver’s Davie Village, a historically significant centre of queer life in the city. Loosely staging the gallery as a café, Watt hangs within this environment a “survey” of his miniaturized model works from the past several years. Referencing tropes of the café art display, the resulting show-within-a-show at once evinces the ways that community is imagined and constructed in the public sphere — aesthetically, politically and otherwise — while nodding to the inevitable failures, fragilities and exclusions of these same structures.