Since you currently can’t be there in person, here’s one way to experience the Museum of Vancouver’s Haida Now exhibition. Learn about the work with Guest Curator Kwiaahwah Jones, MOV Conservator Fiona Hernandez and Collections Associate Paola Merkins.
Main image provided by the Museum of Vancouver
MONOVA is looking at transportation on the North Shore through a historical lens with their latest exhibit: Are We There Yet? How did the early infrastructure decisions of almost a
MONOVA is looking at transportation on the North Shore through a historical lens with their latest exhibit: Are We There Yet? How did the early infrastructure decisions of almost a century ago shape our communities and how we move around today? The exhibit brings together rarely-seen archival materials dating back to the early 20th century, and tells a story of how communities were created on the North Shore, and with new roads and bridges, came more choices about where to live and work.
Museum of North Vancouver
115 Esplanade W, North Vancouver, BC V7M 0G7
Experience a three-channel video installation, created by LA based multidisciplinary artist Justen LeRoy that speaks to Black environmentalism, Black resistance, and Black liberation.
Experience a three-channel video installation, created by LA based multidisciplinary artist Justen LeRoy that speaks to Black environmentalism, Black resistance, and Black liberation.
Surrey Art Gallery
13750 88 Ave
This exhibit showcase stories from Surrey resident Yvon Lehoux, who served on two of the ships featured in the display. See archival photographs, personal memorabilia and more!
This exhibit showcase stories from Surrey resident Yvon Lehoux, who served on two of the ships featured in the display. See archival photographs, personal memorabilia and more!
Museum of Surrey
17710 56A Avenue
From the Ground explores the interconnectedness of the natural world and our reciprocal relationship with the ecosystems in which we are embedded – expanding our awareness of both the visible
From the Ground explores the interconnectedness of the natural world and our reciprocal relationship with the ecosystems in which we are embedded – expanding our awareness of both the visible and invisible in our environments and broadening our sense of time. The exhibition is rooted in the learning principle articulated by the First Nations Education Steering Committee, which emphasizes “connectedness, reciprocal relationships, and a sense of place.” Within the urgency of the climate crisis, From the Ground invites shared dialogue and connection through creative and educational practices.
Curated by Holly Schmidt and Amelia Epp, From the Ground brings together drawings, sculptures, prints, and photographs representing the natural world through stories, materials, time, and natural processes. Works by contemporary Canadian artists Amelia Butcher, Xinwei Che, and Genevieve Robertson are shown alongside selections from the Artists for Kids and the Gordon Smith Gallery’s Permanent Collection which include, Lauren Brevner, James Nexw’Kalus-Xwalacktun Harry, Karin Bubaš, Edward Burtynsky, Victor Cicansky, Anna Binta Diallo, Toni Onley, Gordon Smith, and Charlene Vickers.
Gordon Smith Gallery
2121 Lonsdale Ave, North Vancouver
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
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.
Gibson Art Museum
Bill Reid Gallery of Northwest Coast Art presents the world premiere of NDN Giver, from September 17, 2025 – January 25, 2026. Curated by the gallery’s Assistant Curator, member of
Bill Reid Gallery of Northwest Coast Art presents the world premiere of NDN Giver, from September 17, 2025 – January 25, 2026. Curated by the gallery’s Assistant Curator, member of the Tsiits Git’anee clan, and passionate Haida Nation scholar Amelia Rea in her solo curatorial debut, the exhibition examines reciprocity, identity, and the evolving practice of gift-giving within potlatch traditions. Bringing together contemporary potlatch gifts such as prints and mugs alongside archival records of historical potlatches, NDN Giver features select pieces from Amelia’s personal collection as well as works by artists from communities across the coast, including the Haida and Heiltsuk Nations. For admission information and complete event details, visit: billreidgallery.ca
Bill Reid Gallery
639 Hornby Street
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 –
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.
Audain Art Museum
4350 Blackcomb Way
Enemy Alien is the first major solo exhibition and retrospective of works by documentary photographer Tamio Wakayama. His career, spanning over fifty years, began with his photographs of the Civil Rights
Enemy Alien is the first major solo exhibition and retrospective of works by documentary photographer Tamio Wakayama.
His career, spanning over fifty years, began with his photographs of the Civil Rights Movement in the southern United States. Wakayama documented many of the social justice movements and countercultures of the 1960s and 70s. His work tells stories of community, joy and resistance in the face of injustice. The exhibition also highlights Wakayama’s documentation of Indigenous communities in Saskatchewan and the Doukhobors of eastern BC.
Vancouver Art Gallery
750 Hornby Street
For more than ten years now, the paintings of Sojourner Truth Parsons have trafficked in the saturated and sensorial. Plumbing the space between abstraction and legibility, feeling and form, the
For more than ten years now, the paintings of Sojourner Truth Parsons have trafficked in the saturated and sensorial. Plumbing the space between abstraction and legibility, feeling and form, the language of Parsons’ work is an intuitive one. Building depth through accretion, collapsing interior and exterior realms, and traversing a shifting set of references — from the history of dance to the Gee’s Bend quilts of Alabama to her garden in the Catskill Mountains — her paintings give shape to intensities both atmospheric and embodied.
Louise brings together a selection of works produced by the Vancouver-born, New York-based artist over the past several years, surveying the dexterity of her movement between figuration and form and her canvases’ elemental approach to sensation, texture and tone. Titled after the work of poet Louise Glück — known for her decades-long meditation on the illusions and agonies of the self — the exhibition traces the enduring emotional registers, both individual and collective, that occupy Parsons’ time in the studio: desire, loss, isolation, redemption, resurgence.
Contemporary Art Gallery
555 Nelson Street
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
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.
Nikkei National Museum & Cultural Center
6688 Southoaks Crescent, V5E 4M7
Showcasing Surrey’s own athletes and game-changers alongside national icons, this engaging and interactive exhibit explores Canada’s deep-rooted relationship with its national winter sport. This original Museum of Surrey-curated experience celebrates the
Showcasing Surrey’s own athletes and game-changers alongside national icons, this engaging and interactive exhibit explores Canada’s deep-rooted relationship with its national winter sport.
This original Museum of Surrey-curated experience celebrates the unifying power of hockey, highlighting its diversity, cultural significance, and impact on local communities.
Visitors will also learn about grassroots initiatives, women’s hockey, para hockey, Punjabi broadcasters, and the achievements that shape both local and national hockey culture.
Museum of Surrey
17710 56A Avenue
Connected through waters and shared territory, this exhibit features Squamish and Lil̓wat fashion and accessory designers with guest artists from the Northwest Coast. Through contemporary expression, Indigenous designers represent their
Connected through waters and shared territory, this exhibit features Squamish and Lil̓wat fashion and accessory designers with guest artists from the Northwest Coast. Through contemporary expression, Indigenous designers represent their identities rooted in lineage, land, and culture, shaping the future of fashion. Featuring works selected by Guest Curator Rebecca Baker-Grenier, an Indigenous Designer of Kwakiutł and Sḵwx̱wú7mesh ancestry.
Squamish Lil'Wat Cultural Centre
4584 Blackcomb Way
Nan Goldin: Stendhal Syndrome explores the intimate and emotional force of Goldin’s photography through the moving-image format. Goldin is renowned for her slideshows, which were originally composed of 35mm slides
Nan Goldin: Stendhal Syndrome explores the intimate and emotional force of Goldin’s photography through the moving-image format. Goldin is renowned for her slideshows, which were originally composed of 35mm slides on carousels set to music but are now presented as single-channel videos. Her moving-image works invite viewers to experience Goldin’s images not just as visual narratives, but as visceral encounters.
Drawing on the metaphor of the Stendhal Syndrome—a psychosomatic condition of dizziness, confusion or even hallucinations triggered by exposure to intense beauty—Stendhal Syndrome (2024) juxtaposes Goldin’s photographs taken over the last twenty years of Classical, Renaissance and Baroque masterpieces with portraits of her friends, chosen family and lovers.
Nan Goldin: Stendhal Syndrome features a new acquisition to the Gallery’s permanent collection and represents the first major presentation of Goldin’s work in Vancouver.
Vancouver Art Gallery
750 Hornby Street
We who have known tides begins from a poetic inquiry that seeks to understand what it means to exist at the edges of the Pacific Ocean. We who have known
We who have known tides begins from a poetic inquiry that seeks to understand what it means to exist at the edges of the Pacific Ocean. We who have known tides is an examination that unveils the ways in which the ocean and living in proximity to it has shaped the work of Indigenous artists, as well as their relation to territories across land and water, and their connections to communities that have witnessed the tides change for thousands of years. Drawn predominantly from the Vancouver Art Gallery’s permanent collection, this exhibition asks us to consider where we are on a deeper level, looking to the ocean as a way of understanding how this place is ever changing.
Vancouver Art Gallery
750 Hornby Street
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
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.
The Polygon
101 Carrie Cates Court
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
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 Black Arts Centre
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
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.
Surrey Art Gallery
13750 88 Ave
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
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.
Audain Art Museum
4350 Blackcomb Way
The Museum of Anthropology (MOA) at UBC presents the world premiere of Entangled Territories: Tibet Through Images, on display from November 20, 2025 to March 29, 2026. Curated by Dr.
The Museum of Anthropology (MOA) at UBC presents the world premiere of Entangled Territories: Tibet Through Images, on display from November 20, 2025 to March 29, 2026. Curated by Dr. Fuyubi Nakamura, in collaboration with Tibetan-Canadian community members and artists, the bilingual exhibition explores Tibet’s rich cultural heritage alongside its current political context, through the lenses and voices of the Tibetan diasporic community. The exhibition features photography, letters, objects, and belongings from MOA’s archives alongside contemporary contributions from Tibetan-Canadian artists: Lodoe Laura will have several works on display, alongside the screenings of two short films from filmmaker Kunsang Kyirong, whose work was recently screened at the Toronto and Vancouver International Film Festivals. MOA will celebrate the opening of Entangled Territories on November 20, 6–9pm, with free museum admission for all. To learn more about the exhibition, as well as ancillary events, visit moa.ubc.ca
Museum of Anthropology
6393 N.W. Marine Drive
Featuring artworks by gsindlinger, Colby Lincoln, Matthew Hildebrandt, and Robin Smith January 3 – 31, 2026 Opening reception: January 3, 6 – 8 pm. Free & open to the public. Gallery hours: Tuesday
Featuring artworks by gsindlinger, Colby Lincoln, Matthew Hildebrandt, and Robin Smith
January 3 – 31, 2026
Opening reception: January 3, 6 – 8 pm. Free & open to the public.
Gallery hours: Tuesday – Saturday 11am – 6pm
This month, we are pleased to present works by four artists we have not previously exhibited. gsindlinger is a self-taught mixed media artist based in Vancouver, BC. Colby Lincoln works in ink and pencil and is based in Duncan, BC. Matthew Hildebrandt is a self-taught painter who lives and works on Denman Island, BC. Robin Smith is a self-taught book artist living and working in Ladysmith, BC.
Colby Lincoln
“I began to focus more seriously on my art in high school, during a time when my sense of belonging and understanding of my place in society was unraveling, and art became my only immediate source of meaning and stability amid that alienation. Encouraged by a close relationship with my high school art teacher, I applied to and was accepted into the four-year fine art program at UBC Okanagan, completing my first year with mixed experiences before losing faith in the pursuit and leaving the program early in my second year. What followed was a prolonged period of difficulty, during which I briefly stopped making art before ultimately returning to it; since then, my practice has been the central focus of my life and a vital source of purpose and direction. Aside from my initial year of formal education, my artistic development has been entirely self-directed, shaped by my internal experience rather than academic structures.”
Matthew Hildebrandt
Matthew is a self-taught artist living on Salt Spring Island.
“My work centers on the relationships we have with one another, ourselves, and all the other wildernesses in which we live.
Nature as a thing inside us, not an opposing force. Life without opposite sides. A singular wholeness to which all life belongs.
This is what I paint.
Presently the subject matter for my work comes more from my dreams than anything else, but my experiences with nature and other human beings also inspire much of my work. Exploring the use of symbolism rather than realism, to convey ideas, feelings, and relationships, I blend ancient ideas with a modernist perspective and palette, creating paintings that live in a world that is both familiar and unique”
Robin Smith
Artwork grows from an exploration of sustainable fashion, eco-dyeing, felting, and bookbinding, rooted in the influence of India Flint and her School of Nomad Arts. Guided by the concept of topophilia, my practice is shaped by attentiveness to place, patience, and trust in process, allowing ideas to emerge organically through close listening to nature. I dye pages using local berries, plants, mushrooms, and trees, transforming old books, maps, and vintage marine charts—infused with salt water, memory, and landscape—into journals, sketchbooks, and artworks that carry the essence of their environment. Ideally, each journal becomes a collaboration between me and the person who fills it.
gsindlinger
My art arises from thoughts, feelings, perception, and the impulse to bring their essence into the physical world. I am drawn to generative moments—when an idea arrives with force—and to the challenge of finding a direct, accessible way to realize it. Works like Fingertips and Slowglidelung emerged from dreams, memory, place, and emotional convergence, distilled into simple forms, limited colours, and elemental gestures that reflect how I move through life. While the imagery may appear minimal, the process is largely mental and can unfold over months. I aim to create work that is deeply idiocentric, embraces ambiguity, and resists clear recognition, inviting viewers to sit with uncertainty and respond through feeling rather than explanation. In confronting aging, illness, time, loss, fear, and other uncomfortable truths, I seek to hold space for both the difficulty of existence and the compassion, beauty, and kindness that persist alongside it.
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
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.
The Ferry Building Gallery
1414 Argyle Avenue
Through the lens of contemporary artists’ engagement with the metaphorical and literal processes of fire and the spaces it creates and displaces, The Structure of Smoke includes works that problematize
Through the lens of contemporary artists’ engagement with the metaphorical and literal processes of fire and the spaces it creates and displaces, The Structure of Smoke includes works that problematize the poetic, structural and political aspects of fire. These works complicate the inherent contradictions of wildness and domestication, technological progress and social control, colonial conditions, rebirth and death. Holding a smoked mirror to contemporary society, the works in this exhibition offer ways to undo the familiar in how we approach our uncertain future.
Speculative in nature, The Structure of Smoke is associative, contextual and driven by artistic practices that disturb existing power relations and question their own conditions and structures. With a focus on ecologies, interconnectedness and relationality the works and curatorial premise consider relating to land, community, family and wildfire ecologies including the non-human. As we have seen with the migration of smoke across the globe and the birth of a regular fire season, the ways in which we live with fire require new strategies that embrace specific Indigenous and ecological knowledges and the ability to develop relations with fire beyond the spectacle and devastation of its impacts.
The Structure of Smoke is curated by Melanie O’Brian and Tania Willard and made possible with the generous support of the Canada Council for the Arts, the Province of British Columbia through the BC Arts Council and our Belkin Curator’s Forum members.
Morris and Helen Belkin Art Gallery
1825 Main Mall, Vancouver
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
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.
Maury Young Art Centre
4335 Blackcomb Way
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
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.
West Vancouver Art Museum
680 17th Street, V7V 3T2
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
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.”
Surrey Art Gallery
13750 88 Ave
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
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
13750 88 Ave
Capture the beauty of the season and turn moments into memories as you paint the Whistler skyline. Explore your creative talent with a local artist, who will guide you through
Capture the beauty of the season and turn moments into memories as you paint the Whistler skyline. Explore your creative talent with a local artist, who will guide you through masterpieces inspired by the local landscape.
Availability: All year round, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday
Time of Day: Morning, Afternoon, Evening
Duration: 2 hours
Four Seasons Resort Whistler
4591 Blackcomb Way,
In my artwork, the boundary between nature and human-made structures is blurred. Shapes, colours, and rhythmic lines reflect my perception of the hidden harmony between the natural world and human
In my artwork, the boundary between nature and human-made structures is blurred. Shapes, colours, and rhythmic lines reflect my perception of the hidden harmony between the natural world and human creations. Trees, cities, and buildings serve as symbols of life, growth, and humanity’s presence in the world.
Through abstract compositions, I aim to explore beauty not through exact representation, but through emotion, movement, and the relationships between forms. Each piece invites viewers to see the world anew—from a perspective that lies between imagination and reality.
The Ferry Building Gallery
1414 Argyle Avenue
For more than two decades, the PuSh International Performing Arts Festival has been BC’s signature, mid-winter cultural event delivering audacious, innovative, contemporary works of live arts by acclaimed local, national,
For more than two decades, the PuSh International Performing Arts Festival has been BC’s signature, mid-winter cultural event delivering audacious, innovative, contemporary works of live arts by acclaimed local, national, and international artists.
Curated, multidisciplinary, international in scope—the Festival animates culture and accelerates social change with performance and multimedia projects that embrace creative risk and share a sense of cultural urgency.
Our artistic vision is to create new possibilities for artistic expression and how we relate to one another, expanding our sense of the world while challenging assumptions. As such, we seek to amplify our position as a connector, cultivating opportunities for artistic kinship and intercultural exchange through both live arts experiences, as well as community engagement and professional development initiatives. We think about accessibility as equity design, from the integration of tools that make our performances more inclusive for people with a range of lived experiences, to programming artistic work that rigorously centres audience experience through thoughtful dramaturgy.
Professional development opportunities at the Festival take many forms and forums. A highlight is the PuSh Industry Series: a performing arts industry initiative that brings together 200+ visionary local, national and international artists and arts workers to engage in professional development and curatorial research activities alongside the artistic Festival program. It’s an opportunity to collectively dialogue industry issues, to spark ideas, to make new connections, and to be transformed by live performance.
Various locations in Metro Vancouver
With Stick Drawings, Carrie Walker continues her exploration of the overlooked, the incidental and the under-appreciated. While much of her previous work has centred on animals and the ways they
With Stick Drawings, Carrie Walker continues her exploration of the overlooked, the incidental and the under-appreciated. While much of her previous work has centred on animals and the ways they move through human culture and imagination, this project shifts attention to something seemingly inanimate: the stick. But “inanimate” proves to be an inadequate description. Through Walker’s meticulous drawings, each stick becomes a miniature landscape — etched with the traces of insects, weather, decay, and time. The grain of torn wood reads like cliff faces; the tunnels of borers resemble wandering paths; bark and lichen form an unruly terrain.
Opposite the drawings hang the sticks themselves, each one marked with a small wire-tethered tag listing a title, date, and signature — details that mirror the inscriptions on the drawings. Nearby, a small video screen loops footage of a tricoloured terrier hauling improbably large branches through wooded parks. The terrier is Guess, Walker’s dog, and the sticks are all chosen and transported by her. The dates on the tags refer to when each video was posted to social media, while the drawing titles are borrowed from the songs that accompany those posts. What first appears to be a departure from Walker’s animal subjects is, in fact, deeply entangled with them.
Reflecting on the project, Walker writes about becoming fascinated by Guess’s growing pile of collected sticks — gathered, carried, and ceremoniously deposited at the top of the driveway. She wondered whether drawing the sticks might offer insight into her dog’s compulsion, or whether the act of drawing could echo that behaviour through her own parallel impulse to work, repeat, and accumulate. “My dog doesn’t question her impulses,” she writes. “Why do I question mine?”
Together, the drawings and videos form a meditation on attention — what we notice, what we document, and how meaning forms through repetition and care. The slow labour of drawing sits in deliberate contrast to the quick, looping pleasure of a dog video online. Between these two rhythms lies a subtle proposition: that devotion, curiosity, and curiosity-driven action — whether canine or human — may themselves be forms of understanding.
THIS Gallery
268 Keefer St
Based on a Disney Channel Original Movie Written by: Peter Barsocchini
Based on a Disney Channel Original Movie Written by: Peter Barsocchini
Michael J Fox Theatre
A new chapter of winter Pride is here. Whistler Pride Festival is a weeklong celebration of belonging, inclusivity and the vibrant spirit of Whistler in winter. We’re proud to welcome
A new chapter of winter Pride is here. Whistler Pride Festival is a weeklong celebration of belonging, inclusivity and the vibrant spirit of Whistler in winter. We’re proud to welcome the 2SLGBTQIA+ community year-round, and this refreshed festival builds on Whistler’s legacy with a mix of on-mountain adventure, high-energy après and inclusive events designed to connect and inspire.
Various venues in Whistler
The Advance Theatre Festival 2026, produced by Ruby Slippers Theatre in association with the Shadbolt Centre for the Arts and Playwrights Guild of Canada, is curated by Zahida Rahemtulla. The
The Advance Theatre Festival 2026, produced by Ruby Slippers Theatre in association with the Shadbolt Centre for the Arts and Playwrights Guild of Canada, is curated by Zahida Rahemtulla. The Festival showcases new works written and directed by female identifying and gender non conforming artists who also identify as IBPOC.
Shadbolt Centre for the Arts
6450 Deer Lake Avenue
Equinox Gallery is pleased to present an exhibition of new paintings by Erin McSavaney, on view from January 31 to February 24, 2026. A reception with the artist will be
Equinox Gallery is pleased to present an exhibition of new paintings by Erin McSavaney, on view from January 31 to February 24, 2026. A reception with the artist will be held on Saturday, February 7, between 2 and 4pm.
Following his recent solo exhibition at the West Vancouver Art Museum, accompanied by a fully illustrated catalogue, Erin McSavaney continues his painterly investigations into the relationships between architecture, abstraction, and hyperrealism, three core threads that intertwine throughout his practice.
Equinox Gallery is proud to announce an exhibition of new paintings by Philippe Raphanel, running from January 31 through February 24, 2026. Please join us for a reception with the
Equinox Gallery is proud to announce an exhibition of new paintings by Philippe Raphanel, running from January 31 through February 24, 2026. Please join us for a reception with the artist on Saturday, February 7, between 2 and 4 pm.
Raphanel’s practice involves the build-up of hundreds of thin acrylic layers over several years. By diluting his paint, this technique allows light to pass through the many transparent levels of the work, resulting in surfaces that feel both weightless and luminous.
An exhibition of approximately 40 works from the collection of Montreal collectors, Lillian and Billy Mauer. Including photography, paintings and sculptures from this impressive international collection by artists such as
An exhibition of approximately 40 works from the collection of Montreal collectors, Lillian and Billy Mauer. Including photography, paintings and sculptures from this impressive international collection by artists such as by Carrie May Weems, Lorraine O’Grady, John Baldessari, Rosemarie Trockel, Doug Aitken, Tatiana Trouvé, Huma Bhabha, Frank Bowling, Betty Goodwin, and Annette Messager. Often drawn to politically and socially engaged art, the exhibition will present a selection of works which represent the breadth of the collection.
Griffin Art Projects
1174 Welch St
We’re thrilled to welcome artist Gloria Estefanell to Whistler Contemporary Gallery for a special one-night event filled with creativity, energy, and artistic discovery. Gloria will be joining us in person for
We’re thrilled to welcome artist Gloria Estefanell to Whistler Contemporary Gallery for a special one-night event filled with creativity, energy, and artistic discovery.
Gloria will be joining us in person for an intimate evening where guests can explore her newest works, learn about her process, and experience a live performance featuring one of her sculptural pieces — a captivating extension of her iconic skier paintings.
✨ Meet & Greet
Connect with Gloria in a relaxed, welcoming setting. Say hello, chat about her inspirations, and experience her warmth and creativity firsthand.
🎨 Live Demo & Performance
Gloria will create a painted wall element to accompany one of her sculptural skiers — a rare opportunity to watch her transform space through movement, colour, and texture. This performance reflects the same energy and falling-paint aesthetic seen in her paintings.
🎥 Behind-the-Scenes Stories
Gloria will share insights into her studio practice, including time-lapse videos and recent commissions, offering a deeper look into how she builds her dynamic compositions.
🍷 Drinks & Good Company
Enjoy a selection of alcoholic and non-alcoholic beverages as you mingle with other collectors and art lovers.
🖼 Sneak Peek at New Work
Gloria is sending new pieces ahead of her visit – a wonderful chance to view fresh works before they officially debut.
This will be a fun, casual, and inspiring evening – the perfect winter gathering for collectors, guests, and anyone curious about Gloria’s magical world of colour, motion, and contemporary performance art.
Join us on January 31st from 4:00–6:00 PM at the Hilton Gallery.
We can’t wait to welcome you for an unforgettable event with Gloria Estefanell.
RSVP link coming soon!
Whistler Contemporary Gallery
#110 - 4293 Mountain Square
