Edge Effects features a combination of new commissioned works and projects never before seen by audiences in Canada, such as Liz Magor’s still poignant Blue Students/Alumnos en azul (1997). Originally commissioned by INSITE97, the public project centred on photographic portraits of students from the School of Creative and Performing Arts in San Diego, California, and the Preparatoria Federal Lázaro Cárdenas in Tijuana, Mexico, that were placed throughout both cities. The film negatives were pressed with paper covered in iron salts, which converted into positive blue images as they were exposed to sunlight. By the end of the installation period, only a few portraits had not been completely obscured, with the artist stating that the legibility of the images represented the power of circumstance and chance that governs people’s lives.

Photo credit: Jin-me Yoon, video still from As the Crane Flies Bunker (Sonic Transformations), 2025. 4K and thermal 3-channel video installation with sound, sandbags, netting, and wood. 15:05 minutes, dimensions variable. Courtesy the artist.

Phantom Scripts revisits three works by Geoffrey Farmer from the Audain Art Museum’s Permanent Collection — Vampire Archive, November 22, 1974 (2010 – 2025), The Politics of Appearing (2012 – 2025), The Good Sweeper (2017 – 2025)— reframing them through newly composed scripts, annotations, and didactic texts authored by the artist. The texts function as interjections — speculative, contextual, poetic — that reexamine and complicate the earlier works. In doing so, Farmer explores how art can be returned to, re-read, and re-situated under shifting historical and ethical awarenesses.

This exhibition is a return — not only to Farmer’s past works, and to the evolving conditions in which they are understood. Phantom Scripts highlights the artist’s curiosity to revisit the assumptions, forms, and the silences embedded in his earlier productions, treating the past not as fixed, but as an unsettled field of interpretation and implication. Early aesthetic elements remain — vivid, disorienting, alive — but are now considered by the artist within a broader awareness of colonial entanglements and queer disidentification, foregrounding the role of the museum not as neutral host, but as a site of complicity, memory, and potential transformation.

Kintsugi, the Japanese art of “golden joinery,” is a 500-year-old tradition of repairing broken ceramics with natural Urushi lacquer and powdered gold. Rather than disguising damage, it highlights it—honoring imperfection and the passage of time.

Vancouver-based artist Naoko Fukumaru draws on this ancient practice as both a craft and a meditative process. Through her work, she offers a powerful metaphor for personal healing: like broken pottery, our cracks can become part of our story—transformed, illuminated, and made beautiful.

Respecting traditional materials and methods, Fukumaru also pushes the boundaries of kintsugi through instinctive, innovative techniques. Her approach redefines what restoration can mean—bridging history and emotion in work that is both raw and radiant.

This exhibition invites viewers to reflect on what it means to be beautifully broken—and to find strength and beauty in the imperfect.

This exhibition explores one of the most intense and productive chapters in the professional life of American photographer Lee Miller. Between 1932 and 1945 Miller was simultaneously a renowned portrait photographer running her own studio in New York (1932—1934), a photographer for perfume and cosmetic brands in advertising (1932—1945), and a fashion photographer and war correspondent for the British edition of Vogue (1939—1945). This short time span encompasses a rich history in which the photographer moved between and linked her various practices. Miller’s diverse professional activities, and the ease with which she stepped from one context to another, reveal a photographer whose work was defined primarily by its exchange and commercial value. Lee Miller: A Photographer at Work reveals the inner dynamics of managing a photography career amid the myriad challenges facing professional women at the time. The exhibition offers a rich and complex portrait of this important figure, previously known best for her collaboration with American artist Man Ray and her close ties to the Surrealist movement of the 1920s.

Within The Mould, Against the Grain establishes itself as a case study on the genealogies and emergence of Black culture from within the Continent ( Africa) and across the diaspora.

Utilizing Deforrest Brown Jr’s seminal text (Assembling A Black Counter-Culture) and Stuart Halls’s assertions on Black popular culture and identity as conceptual points of departure, this exhibition investigates the similarities, differences and connections that exist between instances of Black cultural production that have emerged from the Western Black diaspora as well as the Continent. Though united under the shared identity marker of “Black”, each one holds nuance based on separate histories, traditions, material conditions and varying stakes.

Through an intimate coalescing of lens-based works, schematics and sonic installations works, exhibiting artists Tati Au Miel, Odartey Aryee, Deforrest Brown jr, and Isabel Okoro expand on existing theoretical and conceptual frameworks that consider Black artists as knowledge keepers and producers, insisting that Black cultural identity, like Black cultural production, is a robust and complex process of both becoming and being that is ongoing.

Exploring themes like traditional spirituality, embodied knowledge, the limits of representation, global Black identity, and the tensions between appropriation, commercialization, and Black cultural production, this exhibition exemplifies the politics of style and oppositionality that position Black cultural production as existing against the grain, despite the hegemonic forces that attempt to dilute and subvert its potential.

The exhibition brings together artists Mike McNeeley, Chuck Melnychuk, and Sandrine Umuhoza in collaboration with WePress Community Arts Space. Their works reflect on lived experiences and social conditions of Vancouver’s Downtown Eastside—narratives that also hold relevance with communities in Surrey.

Aligned with WePress’ commitment to working with those most impacted by systemic injustice, What Bodies Know grew from community workshops centering immunocompromised and disabled participants. These workshops focused on expressions of collective care, with McNeeley, Melnychuk, and Umuhoza contributing as peer workers. In these roles, they offered guidance, shared knowledge, and helped cultivate a supportive space grounded in accessibility.

Developed alongside the exhibition, descriptive and extend labels will provide visual details of the artworks, creating an inclusive experience that supports deeper engagement and understanding. Altogether, What Bodies Know reflects a collaborative and creative process, highlighting how art can serve as a tool for community connection and transformative dialogue.

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 Ferry Building Gallery is proud to present Strange Land, featuring paintings by Emma Fish, Jean Bradbury, and Gregg Simpson that use the natural world as a mirror for human experience.

In her vibrant mountain landscapes, Emma Fish explores the emotional connection between people and place. Influenced by her life as a snowboarder and shaped by both her Australian roots and the dramatic Pacific Northwest, her work captures the constant push and pull between resilience, change, and belonging. Often painting on recycled plywood, she reflects on how identity is formed through lived experience and our ongoing adaptation to the environments around us.

Jean Bradbury invites viewers into an imaginative world where native and invasive species become metaphors for belonging, displacement, and coexistence. Painting on organically shaped plywood panels and creating forest-like installations, she highlights both harmony and conflict within shared ecosystems. These relationships mirror her own experience as a settler on Indigenous land, with each plant and animal acting as a stand-in for broader stories of arrival, impact, and interdependence.

Working at the edge of abstraction and surrealism, Gregg Simpson embraces the fluidity and transformation inherent in nature. Beginning his paintings spontaneously, he allows colour to move freely before shaping it through layers of drawing and erasure. Forms emerge and dissolve, suggesting figures, landscapes, or still life without ever fully settling. His evolving compositions reflect a world in motion, reminding viewers that creativity—and life itself—is a continual process of reinterpretation.

Wood Work is a dynamic group exhibition showcasing Sea to Sky artists who use wood for experimentation, transformation, and expression. Through a wide range of techniques and artistic approaches, the works in this exhibition push the material beyond its expected uses, revealing the versatility and potential of wood as an artistic medium.

Across functional design, figurative carving, architectural abstraction, and organic sculptural forms, the artists manipulate wood through cutting, carving, shaping, layering, and assembly. Precision and roughness, structure and intuition, restraint and play coexist throughout the exhibition, creating a rich dialogue between process and outcome. Each piece reflects a distinct way of thinking through making, where the act of working the material becomes central to the final form.

Wood Work invites viewers to experience wood not as a craft material, but as a site of innovation, curiosity, and creative possibility.

To turn down the noise of daily life, Fei Disbrow seeks out-of-the-way places where she can find small, unusual organisms. It is in these places where she observes and records unfamiliar, miniature lifeforms which are integral to this body of Disbrow’s work. Her research focuses on cryptogams, resilient and ancient organisms that cover 30% of earth’s soil surface and play a foundational role in ecosystems around the globe. Found in the Arctic, the desert, forests and cities, they are global extremophiles thriving in hostile habitats, capable of surviving death-like desiccation. This exhibition explores the rich, often-overlooked world of cryptogams—mosses, lichens, and algae—through Disbrow’s sculptural work.

Using a camera as a drawing tool, Disbrow captures these organisms without disturbing them. The images are printed directly onto metal, then cut out, using outlines that are intuitively determined. Sculpted to defy traditional format, the pieces are either gently bent to echo the subjects’ undulating topographies or mounted onto monochrome panels to form photographic relief collages. By isolating these remarkable lifeforms and shifting their scale, each piece – presented not just as a biological subject but as a visual wonder – becomes a quiet contemplation.

Growing from the 2023 Gallery exhibition Invisible Fish, and inspired by the Joy Harjo poem “Remember,” remember the earth, remember the sky is a group show focusing on ancestral connections through land, air, and memory as experienced and understood by early career artists connected to this territory and in conversation with works from the Gallery’s permanent collection by Salish artists.

Using an array of mediums, including painting, digital art, sound, sculptural installation, ceramic, and natural materials, the artists reflect on themes connected to place and environment, family history and ceremonies, migration and diasporic identities, and spirituality. This exhibition also includes hands-on experiences with art, including a visitor invitation where one can contribute to an interactive sculpture, weekly piñata breaking referencing its history of celebration and ritual, a collaborative playlist where visitors can dedicate a song to their ancestors, and more.

“remember the earth, remember the sky is partially inspired by my work with children with the Gallery’s school program Sharing Perspectives: Indigenous Contemporary Art Workshop,” says Alanna Edwards, Curator of Art & Education Initiatives. “Children are full of joy, curiosity, and wonder and are open to new ideas. I hope all who visit, no matter their age, can come and ground themselves by remembering their ancestors, their connection to place, and their journey.”

This winter, Surrey Art Gallery is pleased to present the solo exhibition Atheana Picha: Portals, on view from January 17–March 22, 2026. Admission is free.

Building on Picha’s Salish Weaving Residency at the Gallery from the summer of 2023, this exhibition features a

range of work including carving, sound, and hand-spun, hand-woven Salish blankets by Picha, an artist from q̓ʷɑ:n̓ƛ̓ən̓ (Kwantlen First Nation) with connections to Tsartlip through her grandmother.

Central to Portals is a Salish blanket full of blanket pins created by invited mentors, friends, family, and

people important to Picha. Relatively small, but essential, blanket pins are used to hold closed weavings worn

in ceremony and with regalia. They come in a range of shapes, sizes, and materials, all of which will be on display

with this collaborative work.

Curator of the exhibition Alanna Edwards said, “Picha’s contribution toward the canon of Salish art is ongoing,

and I’ve had the privilege of working with her in a variety of ways since 2018. Witnessing her evolution as an artist, I’m continually moved by her deep respect for, and connection with, community and mentors, as well as to the ancestors.

Portals draws on these elements, enriched by Picha’s dedication to innovation, skill, and research throughout her practice.”

Surrey Art Gallery Association announces the first Thursday Artist Talk of the season with exhibiting artist Cat Hart from remember the earth, remember the sky. Admission is free.

Join Hart as they speak to their work in the exhibition in connection to their artistic practice.

Influenced by queer ecologies and Indigenous teachings about good land relations alongside the deepening

climate crisis, Hart has developed a site-responsive, ecologically accountable art practice that is connected

to place. Using experimental photography, wild clay, and other land-based methods, their work reflects on

memory, place, migration, and biodiversity.

By using traditional, pre-Industrial craftsmanship and creative processes in combination with experimental land-based and site-responsive artistic methods, Hart starts from a place of curiosity, allowing the plants, waters, and soils to guide

and shape the work. “I try to move away from perfection and embrace all outcomes” Hart states. “I seek to highlight

the plants and ecologies that have survived and thrived in spite of our interventions on the land or, in the case of

invasive and introduced species, because of them.”

The saga shop will be open before the talk, 3:30pm to 7:30pm.

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.

Explore rug hooking using recycled textiles and coffee sacks. Guided by Jamie Girouard, this three-session workshop is perfect for beginners and experienced crafters. Learn simple techniques to design, create, and finish a small hooked piece while developing your unique style and discovering sustainable approaches to traditional craft.

Some materials will be supplied, but feel free to bring your own. Small frames and hooks will be available for purchase from the instructor.

You will acquire simple, yet effective techniques to create your own hooked pieces from start to finish. You should be able to finish a small piece of the course of three sessions.

Please join exhibiting artist Lorna Brown for a live reading of several easement descriptions that were composed for audio recordings within her installation, followed by a conversation with Gibson Director Kimberly Phillips. The brief descriptions speculate upon the conditions of each easement—its flora and fauna, its history, access and egress, its volume and scale—and the imaginary possibilities of easements as workarounds to our restricted and regulated understanding of property.

Lorna Brown’s artistic practice is concerned with questions of public space, social phenomena, and institutional structures or systems. For her installation Easements in Edge Effects, Brown accessed an online resource called VanMap which allows users to download a map depicting in red every easement registered in Vancouver, thus indicating all the ways a person could traverse the city using this legal right of passage. Brown used graphics software to cluster the indicated easements together, densifying them into an image reminiscent of a medieval city. Redrawn by hand in red ink directly on the gallery wall, they suggest a community of anomalous spaces. Brown then scaled up a select number of easement shapes into soft sculptures, placing them in clustered relationships to the Gibson’s own architecture logic. In bringing these objects into direct relationship with visitors’ bodies—offering them a place to sit or lean against—the easements move from mapped abstractions to supports for imagining a city differently.

Easements can exist as long fingers of land at ground level, or they can hover overhead, as in the case of a suspended sign or elevated walkway. They might be as narrow as the width of a brick, running the length of a city lot, or L-shaped, wrapping around the corner of the property. Granting ease or relief, an easement can describe a curved seam of a garment or a curved joint in architecture.

Interdisciplinary artist and activist Dread Scott has spent his career using art to disrupt norms, question corrupt systems of power, and ignite necessary political conversations. His work, he writes, “looks towards an era without exploitation or oppression,” challenging the notion that current political and economic structures of America as inevitable. In 1989, his now-iconic artwork “What Is the Proper Way to Display a U.S. Flag?” was denounced by President George H.W. Bush and the U.S. Senate. The resulting Supreme Court case cemented its place in art history as a touchstone for debates about patriotism and dissent.