Explore our Museum after hours with Pay-What-You-Can admission every Thursday evening!

Be it date-night, an evening of family fun, or your own cultural excursion, step into our galleries and let curiosity be your guide as the stories of North Vancouver come to life under a whole new light

Thursdays, Weekly
Time: 5PM –8PM
Audience: All Ages
Pay-What-You-Can

All drop-ins welcome!

A new sculpture by James Harry marks The Polygon Gallery’s seventh collaboration and co-commission with Burrard Arts Foundation. Eye of the Ancestor is a striking yellow cedar wooden sphere, carved with Coast Salish designs on the surface and holding a mirror-polished stainless steel sphere inside. The composition creates layered reflections and viewpoints that shift with the viewer’s movements around the sculpture. The title of the work draws from Coast Salish visual language, where the eye is a form associated with awareness, presence, and continuity beyond the individual. Harry’s sculpture translates that form into a multiscalar design that enacts a subtle intergenerational choreography, reflecting Indigenous pedagogies wherein knowledge is relational, accumulative, and often revealed incrementally across the arc of one’s life.

Simranpreet Anand’s latest body of work weighs the spiritual significance of sacred materials against the costs and modes of their mass production. Working from a Sikh perspective, her installation of ceremonial fabrics, lenticular prints, and embroidered photographs considers the notion of the “eternal” in terms of religious significance, as well as the synthetic nature of products manufactured to last forever. Collapsing commercial and domestic spaces, her exhibition at The Polygon Gallery will feature a living room — with custom wallpaper, a couch, and a television — beside the Gallery’s gift shop, probing multivalent ideas of worship, value, and sustainability in the 21st century. Anand was the winner of the 2023 Philip B. Lind Emerging Artist Prize.

ShongRokkhon: Reimagined Threads presents a series of textile-based artworks that investigate how inherited South Asian textile practices can be reshaped and sustained through displacement. Each work begins with preloved fabrics, often garments worn by elders, that carry embedded histories of care, memory, and intimacy. Onto these surfaces, the artist layers paint, dye, beadwork, stitching, and block stamping. By adapting Bangladeshi methods with improvised tools and limited resources, the work reveals how craft traditions persist even when uprooted from their original cultural and material contexts.