Brandon Gabriel is an artist from the Kwantlen Nation that is carrying on the Coast Salish tradition of storytelling through his art. His collaborative work on an honorary house post for the Kwikwetlem First Nation represents the resilience of all Indigenous people in this country to overcome resistance and share their culture with the world.
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
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
Exploring Métis-Led Cultural Care
Exploring Métis-Led Cultural Care
Amelia Douglas Institute
13401 108 Ave #300, Surrey
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
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
Nature’s Presence: Landscapes of the Pacific is a series of acrylic paintings inspired by places Eileen Fong has visited throughout British Columbia. From glacier-carved mountains and coastal mornings to
Daily Rituals is a solo exhibition of ceramic artist Kate Arkiletian, featuring functional vessels carved with coastal motifs and ocean imagery. Drawing on the ocean as a symbol of
Daily Rituals is a solo exhibition of ceramic artist Kate Arkiletian, featuring functional vessels carved with coastal motifs and ocean imagery. Drawing on the ocean as a symbol of the unconscious, her work celebrates the beauty and mystery of the natural world while transforming everyday objects into reflective, tactile experiences.
Silent Tides presents quiet, intimate views of British Columbia’s rocky shores, capturing the stillness and subtle movement found at the water’s edge. Through detailed oil paintings developed from
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
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
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
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.
Burnaby Art Gallery
6344 Deer Lake Avenue
That Green Ideal: Emily Carr and the Idea of Nature is the largest solo exhibition of iconic British Columbia artist Emily Carr (1871–1945) at the Vancouver Art Gallery in over
That Green Ideal: Emily Carr and the Idea of Nature is the largest solo exhibition of iconic British Columbia artist Emily Carr (1871–1945) at the Vancouver Art Gallery in over twenty years.
Featuring more than 100 works, it explores in-depth the artist’s obsession with the landscape of the Pacific Northwest, using close analysis of her paintings and writings to investigate how she understood nature and her relationship to it. The exhibition argues that Carr’s landscapes exist at the intersection between an experience of nature and an idea about how to transmit that experience through a painting, with the goal of expressing a divine essence in nature. It teases out the tension between individual and local references and the larger ideas and philosophies about nature in Western cultural traditions.
Vancouver Art Gallery
750 Hornby Street
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
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.
Surrey Art Gallery
13750 88 Ave
Guest curated by Salish artist Eliot White-Hill, Kwulasultun, this exhibition brings together the work of 11 Coast and Interior Salish artists working across sculpture, printmaking, textiles, painting, and mixed media.
Guest curated by Salish artist Eliot White-Hill, Kwulasultun, this exhibition brings together the work of 11 Coast and Interior Salish artists working across sculpture, printmaking, textiles, painting, and mixed media. Together, their practices reveal the deep cultural, linguistic, and artistic relationships that flow across the Salish world.
While institutional narratives have often centered on Coastal Salish art, this exhibition broadens the lens, foregrounding the vital interconnectivity between Interior and Coast Salish communities. In doing so, it challenges the historic marginalization of Salish art within broader Northwest Coast art histories.
At the heart of the curatorial vision is the river, both a living presence and a powerful metaphor, linking land, water, identity, and evolving cultural practices.
The exhibition celebrates Salish art as dynamic, sophisticated, and forward-looking, affirming its place as both culturally essential and artistically visionary.
Featuring influential artists who have paved the way, including Susan Point and Angela Paul, alongside emerging voices shaping the future, this exhibition offers a resonant and timely exploration of continuity, connection, and creative resurgence.
Bill Reid Gallery
639 Hornby Street
Bill Reid Gallery of Northwest Coast Art presents Blossoming, a solo exhibition from Kwakwaka’wakw artist Jamie Gentry, curated by Aliya Boubard, from February 28 – May 24, 2026. After 12
Bill Reid Gallery of Northwest Coast Art presents Blossoming, a solo exhibition from Kwakwaka’wakw artist Jamie Gentry, curated by Aliya Boubard, from February 28 – May 24, 2026. After 12 years of creating moccasins by commission, this exhibition serves as an opportunity for Gentry to implement her handcrafted beadwork based solely on personal inspiration, culminating in a journey of self-discovery and growth, and a gift to create her own joy. The exhibition features a series of handmade moccasins adorned with realistic floral beadwork along with a selection of photographs showcasing the moccasins in the natural environment from which each pair was inspired. A workshop with the artist will be held during the exhibition run, further details to be announced. For admission information and complete event details, visit: billreidgallery.ca
Bill Reid Gallery
639 Hornby Street
Andrew James McKay’s Provisional Realism is comprised of six pictures — two landscapes and four portraits. The landscapes can be further divided into urban and rural settings (Expansion Project and
Andrew James McKay’s Provisional Realism is comprised of six pictures — two landscapes and four portraits. The landscapes can be further divided into urban and rural settings (Expansion Project and Sunshine Coast Highway, respectively), while the portraits run the gamut — from self-portraiture (Impersonator), to staged direction (Showroom), to conceptual (Alisa with Textile), to meta (The Woodshop). Though the paintings align easily with realist criteria, their provisional status requires some thinking.
A first thought concerns an instance where landscape and portraiture meet in a single work, as in the mural portrait that appears in the Expansion Project landscape. This mural, which centres the words “THE PRESENT” across its figure’s chest, was a project of the now-defunct Vancouver Mural Festival, a controversial non-profit accused of “art-washing.” [1] As with many VMF projects, murals were commissioned with no guarantee of permanence. Although we could refer to them as provisional (existing temporarily, or in the present), the provisional aspect assumed in Expansion Project (Vancouver’s five-year Broadway Subway Line expansion) is in reality closer to an operative protraction than anything fleeting: a scenario in which governments and market forces collude to neo-liberally manipulate both time and space for profit, in a city young and ruthless enough to be cursed, like Modernism, with forever making itself new.
CSA Space
2414 Main St
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,
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.
Cityscape Community ArtSpace
335 Lonsdale Ave
This installation reimagines the dragon as a shared myth that transcends geography and culture. Spanning three synchronized screens, Mustaali Raj transforms the dragon’s traditional characteristics into his own distinct visual
This installation reimagines the dragon as a shared myth that transcends geography and culture. Spanning three synchronized screens, Mustaali Raj transforms the dragon’s traditional characteristics into his own distinct visual language.
Through vivid colours and bold geometric patterns, the dragons glide across the boundaries of land, culture, and story. Their shifting shapes invite viewers to reflect on how stories migrate and evolve across cultures.
Surrey Art Gallery
13750 88 Ave
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
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.
The Polygon
101 Carrie Cates Court
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
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.
Gibson Art Museum
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
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.
The Polygon
101 Carrie Cates Court
Explore our Museum after hours with Pay-What-You-Can admission every Thursday evening!
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!
Museum of North Vancouver
115 Esplanade W, North Vancouver, BC V7M 0G7
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
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.
West Vancouver Art Museum
680 17th Street, V7V 3T2
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
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.
Maury Young Art Centre
4335 Blackcomb Way
Kinship, a group exhibition of six Vancouver-based trans and gender-diverse ceramic artists curated by Jai Sallay-Carrington, runs March 19 through April 24, 2026. With Kinship, figurative ceramic practices become a means of
Kinship, a group exhibition of six Vancouver-based trans and gender-diverse ceramic artists curated by Jai Sallay-Carrington, runs March 19 through April 24, 2026. With Kinship, figurative ceramic practices become a means of grappling with queer and trans embodiment in all its complexity. Showcasing work by Rojina Farrokhnejad, Pedram Penhan, Cat Hart, Danya Gorodetsky, Felix Thomas, and Sallay-Carrington themself, Kinship is timed to coincide with International Transgender Day of Visibility (March 31) and is also a featured exhibition in the 2026 Canadian Clay Symposium (March 21–23). Arriving at a time when trans bodies remain highly politicized, these artists question how gender, sexuality, and desire shape one’s sense of belonging, or otherness, within culture.
SUM Gallery
Suite 425 – 268 Keefer St.
Tupananchiskama: Ancient Andean Cosmovision explores the enduring worldviews of ancient Andean civilizations through nearly 100 exquisite pre-Columbian ceramic, textile, bone and wood works, some dating back more than 2,500 years. These works were collected by former UBC Professor
Tupananchiskama: Ancient Andean Cosmovision explores the enduring worldviews of ancient Andean civilizations through nearly 100 exquisite pre-Columbian ceramic, textile, bone and wood works, some dating back more than 2,500 years. These works were collected by former UBC Professor Alan R. Sawyer and donated to MOA. The Andes are home to some of the world’s most complex cultural traditions, and its knowledge lives on in landscapes, practices, languages, and material culture.
This exhibition highlights Andean cosmovision—a holistic and spiritual understanding of the universe grounded in reciprocity, balance, and the recognition of nature as a living being. Far more than artistic objects, the belongings on display embody relationships between humans, ancestors, and sacred forces.
Tupananchiskama, is a word in Quechua, an Indigenous language of the Andes. It means “until life brings us together again” and reflects an ancestral view of life and death as part of a continuous cycle. In Andean philosophy, death is not an end but a transformation. Through the belongings in this exhibition, visitors are invited to reflect on continuity, resilience, renewal, and the promise of reunion.
Museum of Anthropology
6393 N.W. Marine Drive
Seymour Art Gallery
4360 Gallant Ave, North Vancouver, BC V7G 1L2
Return to Paueru Gai is a retrospective exhibition celebrating 50 years of Powell Street Festival’s art and activism through photographs, videos and installations. Curated by Emiko Morita With financial support from Nikkei National
Return to Paueru Gai is a retrospective exhibition celebrating 50 years of Powell Street Festival’s art and activism through photographs, videos and installations.
Curated by Emiko Morita
With financial support from Nikkei National Museum & Cultural Centre, Powell Street Festival Society, Emily Carr University of Art and Design, and Japanese Canadian Legacies Society.
Nikkei National Museum & Cultural Center
6688 Southoaks Crescent, V5E 4M7
Capture Photography Festival 2026 — Featured Exhibition Through sculptural photographs created in the darkroom and transformed into large-scale installations, Gerri York explores blurred boundaries between human and animal, image and object.
Capture Photography Festival 2026 — Featured Exhibition
Through sculptural photographs created in the darkroom and transformed into large-scale installations, Gerri York explores blurred boundaries between human and animal, image and object. Folding, light, and chance shape works that suggest living forms in states of becoming. Curated by Shannon Pawliw.
THIS Gallery
268 Keefer St
Uncommon Places is a landmark series of photographs by American photographer Stephen Shore (b. 1947, New York, NY). Taken over the course of multiple road trips across North America between
Uncommon Places is a landmark series of photographs by American photographer Stephen Shore (b. 1947, New York, NY). Taken over the course of multiple road trips across North America between 1973 and 1981, this series played a pivotal role in establishing the importance of colour photography as a fine art form.
During his travels, Shore photographed intersections, parking lots, buildings, interiors, landscapes, objects and people, defining a photographic vernacular rooted in everyday Americana. Through Shore’s lens, such seemingly mundane subject matter becomes uncommon—framing, composition, colour, clarity and perspective work together to create a world of compelling images in which we see ordinary matter anew. Shore’s approach to the series is marked by a contemplative, attentive and detached quality, shaped by his use of a tripod-mounted, large-format camera that facilitates precision, sharpness and vivid clarity. Uncommon Places was originally published as a book in 1982.
Following a major gift from the Chan Family of eight hundred and one photographs from the series, the Gallery’s collection is one of the most comprehensive representations of this highly influential body of work held by any museum in the world. Together, these works offer insight into the development of Shore’s photographic approach, as well as the thematic strands, range of subjects and formal concerns that unfold across the series. Alongside iconic images of life on the road, this exhibition foregrounds Shore’s photographs from Canada and highlights his encounters with the people he met along the way who shaped his journeys.
Vancouver Art Gallery
750 Hornby Street
Poiēsis Collective are a group of younger-generation artists whose work is centered in photography and Lens-based art. Aftertaste presents works centered on the active process through which the images we
Poiēsis Collective are a group of younger-generation artists whose work is centered in photography and Lens-based art. Aftertaste presents works centered on the active process through which the images we absorb – and the ways images absorb us – shape our understanding and engagement with the world. The artists in the exhibition explore photography as an act of consumption, desire, and capital, manifested in tourism, advertisement, archives, health care, and photographic material waste.
Pendulum Gallery
885 W Georgia St, V6C 2G2
Launched in 2013, Capture Photography Festival is Western Canada’s largest lens-based art festival. Annually in April, lens-based art is exhibited at dozens of galleries and other venues throughout Metro Vancouver
Launched in 2013, Capture Photography Festival is Western Canada’s largest lens-based art festival. Annually in April, lens-based art is exhibited at dozens of galleries and other venues throughout Metro Vancouver as part of the Exhibition Program, alongside an extensive Public Art Program, an Events Program that spans tours, films, artist talks, and community events as well as an educational partnership with Emily Carr University and Critical Image Forum, The University of British Columbia.
Capture’s vision is to connect Vancouver to the world through lens-based art. The Festival acts as a platform to expand visual literacy through lens-based art; strives to give voice to traditionally underrepresented communities and to present compelling, urgent lens-based art. We aim to connect communities to incite meaningful dialogue between artists, curators, audiences, organizations and institutions. Capture is committed to presenting perspectives from diverse backgrounds and members of underrepresented groups.
Various locations in Metro Vancouver
The Quiet Between explores the contemplative spaces where emotion, nature, and material meet — whether through still life, raw clay vessels, or graphite landscapes. The seed for Kathryn Fullerton’s clay pieces
The Quiet Between explores the contemplative spaces where emotion, nature, and material meet — whether through still life, raw clay vessels, or graphite landscapes.
The seed for Kathryn Fullerton’s clay pieces began during her 2024 residency at Tidal Art Centre in Lund. By responding intuitively to the land and its materials, she began to form hollow spheres from local clay. These closed vessels gradually revealed themselves to her as containers for the generative pulse of life. Over time, the spheres began to open, as the quiet nature of these pieces guided her deeper into the cycles of place. Informed by her residency at Tidal and ongoing research into decolonial methodologies, this work explores what it means to sustain a life-affirming art practice that acknowledges the cultural and ecological implications of making. The process is both ritual and offering. Each act of making, opening, or releasing becomes a meditation on giving and receiving within the community of life.
The Ferry Building Gallery
1414 Argyle Avenue
This important art installation by self-taught artist Kim O’Brien is her first exhibition since we presented ENTANGLED in 2024. ENTANGLED was based on her own personal experience as a patient
This important art installation by self-taught artist Kim O’Brien is her first exhibition since we presented ENTANGLED in 2024. ENTANGLED was based on her own personal experience as a patient in the BC mental health system here in Vancouver and was primarily depicted through life-size sculptures that were felted, stitched, knitted, and sewn.
NICE has been in the making since May 2024.
This is what Kim has to say about the exhibition:
“Although not obviously connected, the catalyst for NICE was a psychiatric misdiagnosis. After my hospital discharge, I was told an antidote about my time in involuntary ‘care.’ Staff told my sister what a ‘nice’ woman I was — ‘your sister is a pleasure to have on the ward.’ That antidote lived in my body as discomfort.
As I learned how to navigate the effects of psychiatric trauma, I continued to bump into my compliance and seemingly agreeable nature while struggling with feelings of personal betrayal. In an effort to understand my impulse of niceness, I began exploring how nice sits in my body. Could I untangle myself from a trait that, until recently, I had perceived as positive? Did I want to?
Despite my reluctance, my inability to forgive myself indicated that I had to, and so began my exploration of nice. This became a deep dive into childhood trauma done in therapy, and an exploration of nice as both a personal and societal pressure within my art practice. What emerged is a series of observations and confessions so deeply personal that I distanced myself by using THE WOMAN to examine my interior. NICE is ultimately a personal journey of understanding and forgiveness.”
The Burnaby Artists Guild is pleased to extend an invitation to you, your family, and friends to our “Burnaby Artist Guild Spring Show” original art exhibition and sale happening on
The Burnaby Artists Guild is pleased to extend an invitation to you, your family, and friends to our “Burnaby Artist Guild Spring Show” original art exhibition and sale happening on April 10 to April 12, 2026
The show will feature a collection of artwork by our guild members in a variety of styles, subjects, and sizes as well as a special display from our Featured Artist.
This will be a great opportunity to purchase affordable artwork for yourself or as gifts for any occasion.
Free admission, parking and bus access.
Hope to see you at our show!
April 10 to April 12, 2026
Shadbolt Centre for the Arts
6450 Deer Lake Avenue
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
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.
The Polygon
101 Carrie Cates Court
Spring art show. A breath of fresh air! Free admission. Free Parking. Live music.
Spring art show. A breath of fresh air!
Free admission. Free Parking. Live music.
Turnbull Gallery
14601 20th Ave
FCA PopUp Market: Music • Vendors • Drinks & Snacks In Partnership with the Vancouver Cherry Blossom Festival Join us on April 12 from 12:00 PM to 5:00 PM for the FCA
FCA PopUp Market: Music • Vendors • Drinks & Snacks
In Partnership with the Vancouver Cherry Blossom Festival
Join us on April 12 from 12:00 PM to 5:00 PM for the FCA PopUp Market at the Federation of Canadian Artists’ Flex Space Studio in Vancouver.
This afternoon pop-up brings together local artists, makers to sell their art and goods for a vibrant community gathering celebrating creativity and connection. There will be music, a bar with small snacks for attendees to enjoy. Browse unique goods from independent vendors, enjoy being with community, and sip beverages while exploring one of Vancouver’s most dynamic arts spaces.
Whether you’re looking to discover new artists, pick up something special, or spend a laid-back Sunday immersed in culture and community, the FCA PopUp Market offers something for everyone.
📍 Location
FCA Flex Space Studio
1310 Johnston Street
Vancouver, BC
🗓 Date & Time
Sunday, April 12 — 12:00 PM to 5:00 PM
FCA Flex Space Studio
1310 Johnston Street
Back in February, Wonderwall had its world premiere at The Theatre at Hendry Hall in North Vancouver. This charming, intimate venue was perfect for a first run, and reactions from
Back in February, Wonderwall had its world premiere at The Theatre at Hendry Hall in North Vancouver. This charming, intimate venue was perfect for a first run, and reactions from audiences members went well beyond our expectations. A new play is always a bit of a shot in the dark, as you never truly know what you have until an audience tells you. Fortunately for us, our inbox began to fill up with glowing reviews the same night we held our preview show.
Recently, we decided to hold a second run of Wonderwall at The NEST on Granville Island in April 2026. Our cast will be slightly different, but the show will be staged with all the heart and soul we put into our first run. We hope you will join us.
The NEST on Granville Island
1398 Cartwright St 3rd Floor
This exhibition brings together diverse practices that challenge the traditional boundaries of photography. Exploring the dynamic intersection of photography, sculpture, and installation, these works ask viewers to encounter photography as something
This exhibition brings together diverse practices that challenge the traditional boundaries of photography.
Exploring the dynamic intersection of photography, sculpture, and installation, these works ask viewers to encounter photography as something to be experienced with the body as much as the eye. Here, photography transcends the flat surface, emerging as a spatial, tactile, and conceptual practice.
By engaging with inventive materials including paper, wood, film, resin, plastic, metal, and found objects, the artists blur the lines between disciplines, transforming the photograph into sculpture, the image into an object, and the wall into space.
In rethinking what a photograph can be, this exhibition invites audiences to see and navigate photographic works in bold new ways.
Cityscape Community ArtSpace
335 Lonsdale Ave
Ser Serpas (b. 1995, Boyle Heights, California) lives and works in New York City and received degrees from Columbia University, New York, and HEAD, Genève. Notable institutional solo exhibitions include
Ser Serpas (b. 1995, Boyle Heights, California) lives and works in New York City and received degrees from Columbia University, New York, and HEAD, Genève. Notable institutional solo exhibitions include presentations at the Kunsthalle Basel, Switzerland; the Pinault Collection, Bourse de Commerce, Paris; and Swiss Institute, New York. Serpas has also participated in group exhibitions at the Rubell Museum, Miami; Aïshti Foundation, Beirut; MoMA PS1, New York; the 2024 Whitney Biennial, New York; the 2024 El Museo del Barrio Triennial, New York; Musée d’art moderne et contemporain Genève; Bonner Kunstverein, Germany; Haus am Waldsee, Berlin; Istituto Svizzero, Rome; Centre d’Art Contemporain Genève; Hammer Museum, Los Angeles; Punta della Dogana, Venice; and Kunsthalle Fribourg, Switzerland. Serpas has a solo exhibition upcoming at Kölnischer Kunstverein, Germany.
Contemporary Art Gallery
555 Nelson Street
Rafik Greiss (b. 1997) is an Egyptian artist based in Paris working across photography, installation and time-based media. His practice reflects on transformation, memory and the shifting states of images
Rafik Greiss (b. 1997) is an Egyptian artist based in Paris working across photography, installation and time-based media. His practice reflects on transformation, memory and the shifting states of images and objects through a formally and technically diverse approach that moves between digital and analogue processes. Often described as atmospheric, provocative and sensual, his work is driven by what Mitchell Anderson calls a “commitment to sensation rather than theme or medium.” His work has been shown in solo exhibitions at Balice Hertling, Paris (2024, 2021), as well as in group exhibitions at the Istanbul Biennial (2025); Simian, Copenhagen (2025); Kunsthalle Zürich (2024); and the Swiss Institute, New York, with Ser Serpas (2023). His work is held in collections including the Whitney Museum of American Art, New York; Pinault Collection, Paris; Louis Vuitton Collection, Paris; and Lafayette Anticipations, Paris.
Contemporary Art Gallery
555 Nelson Street
Douglas Watt (b. 1990, St. Catharines) is an artist living and working in Vancouver’s Davie Village on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations.
Douglas Watt (b. 1990, St. Catharines) is an artist living and working in Vancouver’s Davie Village on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. He holds a BA (Art History) from Carleton University, Ottawa; an MFA from Simon Fraser University, Vancouver; and was a visiting student in Criticism & Curatorial Practice at OCAD University, Toronto. He has presented solo exhibitions at Unit 17, Vancouver (2019), Tara Downs, New York (2021), and Pumice Raft, Toronto (2024). His work has been featured in Artforum and BlackFlash Magazine. Watt co-edits the publication Porthole with Hamish Hardie.
Contemporary Art Gallery
555 Nelson Street
Re-Vision the Art of Recycling is proud to present Art Against Climate Disaster at Deer Lake Gallery from April 16–25, 2026. Art Against Climate Disaster highlights environmental challenges and
Re-Vision the Art of Recycling is proud to present Art Against Climate Disaster at Deer Lake Gallery from April 16–25, 2026.
Art Against Climate Disaster highlights environmental challenges and features works from 19 local artists working in sculpture, collage, and painting — on view both inside and outside the gallery.
Artists include Robert Turriff, whose welded sculptures incorporate native plants; Valerie Arntzen, whose assemblage works use materials collected from around the world; and Ron Simmer, who transforms discarded materials into captivating, playful works that offer whimsical commentary on modern society.
Auxiliary programming includes workshops, an opening celebration on April 16, and a closing event on April 25. ReVision is a non-profit society of artists who upcycle materials to focus on the sustainability crisis and causes.
Deer Lake Gallery
6584 Deer Lake Avenue
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
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.
The Polygon
101 Carrie Cates Court
Experience an enchanting afternoon filled with your favourite operatic arias, duets, and trios, performed by the exceptional young talents from the Burnaby Lyric Opera. Tickets are $20, call Box Office to
Experience an enchanting afternoon filled with your favourite operatic arias, duets, and trios, performed by the exceptional young talents from the Burnaby Lyric Opera.
Tickets are $20, call Box Office to reserve 604-297-4440.
Shadbolt Centre for the Arts
6450 Deer Lake Avenue
Celebrate the season with a beautifully refreshed shop featuring new work from talented local artisans. Sip on a complimentary glass of bubbly and enjoy a bag of popcorn as you
Celebrate the season with a beautifully refreshed shop featuring new work from talented local artisans. Sip on a complimentary glass of bubbly and enjoy a bag of popcorn as you browse, meet makers at work, and explore custom creations made just for you.
Featuring three artisans on site:
Whether you are searching for the perfect wedding, birthday, or Mother’s Day gift, you will find something meaningful and unique. We are also excited to introduce our new gift registry and wish list, a simple and personal way to save your favourite pieces. Plus, Arthentic gift cards will be available, making gifting even easier.
New season, new makers, new inspiration.
Maury Young Art Centre
4335 Blackcomb Way
Join gallery staff for an exciting day exploring photo-based art. We will visit a carefully curated selection of photo-based exhibitions around Vancouver and the North Shore that are part of
Join gallery staff for an exciting day exploring photo-based art. We will visit a carefully curated selection of photo-based exhibitions around Vancouver and the North Shore that are part of the Capture Festival, including a guided tour of the Polygon Art Gallery and a visit to the studio of acclaimed environmental photographer Nikki Baxendale.
Lunch at a local eatery or bring your own (cost of lunch not included).
Tour bus will depart from the Ferry Building Gallery. Fees include transportation, guided tour, and admissions.
The Ferry Building Gallery
1414 Argyle Avenue
Loosen up your drawing hand in a relaxed and informal happy hour workshop with beloved local artist Neil Wedman. No drawing experience is necessary, but banter is de rigueur. Participants
Loosen up your drawing hand in a relaxed and informal happy hour workshop with beloved local artist Neil Wedman. No drawing experience is necessary, but banter is de rigueur. Participants must be 19+.
$20 per session (separate registration for each)
March 26, 2026 – Postcard Collage Landscapes (After William Wegman)
Participants affix postcards at random on a large roll of paper then connect the images with pencil crayon drawings.
April 23, 2026 – Flash Lab
Images are projected for about a tenth of a second and participants draw their impression. The procedure can be repeated multiple times using the same image but gradually the slides become more complicated
May 21, 2026 – Death Row Dining
In a two-part activity, participants draw what they would request for their final meal on Death Row.
Gibson Art Museum
Join interdisciplinary visual artist Solange Adum Abdala for a hands-on exploration of photography, light, and layered storytelling. This Date Night draws on her work in our Image / Object Photosculpture
Join interdisciplinary visual artist Solange Adum Abdala for a hands-on exploration of photography, light, and layered storytelling. This Date Night draws on her work in our Image / Object Photosculpture exhibition, which will be on display in our gallery alongside the workshop as part of this year’s Capture Photography Festival.
A palimpsest is an ancient manuscript that has already been used, with the original text erased or scraped away for another. This was often done because writing materials were scarce or expensive. In this Date Night, we will creatively explore printed materials, books, magazines, encyclopedias, and more as palimpsests that accumulate layers of information.
Working with light, thin pages and cutouts, we will activate printed materials, discovering what publications conceal and seeing the revealed in new ways, like a three-dimensional collage. Using flashlights, lamps, and a lightbox, we will create photographs and interventions that engage with photography, archives, writing, and memory. The workshop will provide a playful and reflective space to rethink how we see and what lies beneath the surface.
By the end of the workshop, participants will take home a set of digital photographs, along with their own intervened book containing cutouts, overlays, and illuminated discoveries that capture the layered effects explored.
Who should attend
What you need to bring
Cityscape Community ArtSpace
335 Lonsdale Ave
The company’s inaugural program will feature the Vancouver premiere of After the Rain by The Royal Ballet Artistic Associate Christopher Wheeldon, a two-part ballet known for its emotional depth and
The company’s inaugural program will feature the Vancouver premiere of After the Rain by The Royal Ballet Artistic Associate Christopher Wheeldon, a two-part ballet known for its emotional depth and elegant simplicity, originally performed by New York City Ballet; the world premiere of a new creation choreographed by Joshua Beamish, in collaboration with Indigenous artist and fashion designer Yolonda Skelton, which centres a harmonious, thoughtful integration of Indigenous design and ballet; the live Vancouver premiere of Redemption by Annabelle Lopez Ochoa, a solo journey of a fallen angel that explores themes of solitude and contemplation, which received its digital premiere at the 2021 PuSh Festival for Performing Arts; and the Vancouver reprise of Wen Wei Wang’s Swan, a modern reimagining of the ballet classic Swan Lake performed en pointe.
Vancouver Playhouse
600 Hamilton Street
The 2025–2026 season closes with one of opera’s most enduring love stories, set in the world’s most romantic city, rendered with the most vibrant characters and melodies. Puccini’s masterpiece transports
The 2025–2026 season closes with one of opera’s most enduring love stories, set in the world’s most romantic city, rendered with the most vibrant characters and melodies. Puccini’s masterpiece transports us to the heart of 1830s bohemian life in Paris, where love blossoms amidst dreams, hardships, and the unyielding pursuit of artistic freedom.
La Bohème has remained one of the most beloved and frequently performed operas worldwide since its 1896 premiere, due in large part to captivating pieces like “Quando m’en vo”, a.k.a. “Musetta’s Waltz”, and perhaps the most famous duet in opera, “O soave fanciulla”, sung on that moonlit moment when Mimì and Rodolfo fall in love.
In a bustling community of artists, students, philosophers, and Quartier Latin café denizens, the deep connection between the young poet Rodolfo and the seamstress Mimì is eventually tested by the bittersweet passage of time and the emotional toll of illness and poverty.
VO Music Director Emeritus Jonathan Darlington returns to conduct some of the most romantic and iconic music in opera history, while Pacific Opera Victoria Artistic Director Brenna Corner crosses the Salish Sea to direct a stunning international cast. Whether you’re discovering it for the first time or returning to a beloved classic, La Bohème speaks passionately to the soul, reminding us to cherish the fragility and fleeting beauty of life and love.
Queen Elizabeth Theatre
630 Hamilton St
Harumatsuri is an annual 1-Day event held in the spring, serving as a light version of our annual 3-day convention in the summer. Harumatsuri is made of the Japanese words
Harumatsuri is an annual 1-Day event held in the spring, serving as a light version of our annual 3-day convention in the summer. Harumatsuri is made of the Japanese words for spring (haru, 春) and festival (matsuri, 祭り) and is held with a special focus on Japanese arts and culture. In addition to our themed elements, Harumatsuri offers many of our traditional Anime Evolution summer events on a smaller scale including panels, video and AMV showings, gaming, artists alley, and vendors.
Nikkei National Museum & Cultural Center
6688 Southoaks Crescent, V5E 4M7
Learn how to create your own vision board book in this beginner-friendly workshop with artist Ember Muninn. Participants will be guided through the process of clarifying goals or intentions and
Learn how to create your own vision board book in this beginner-friendly workshop with artist Ember Muninn. Participants will be guided through the process of clarifying goals or intentions and translating them into a series of collaged pages. The workshop will conclude with binding the finished work using a traditional Japanese binding technique.
The Ferry Building Gallery
1414 Argyle Avenue
Join us for a guided tour of our current exhibition, Marian Penner Bancroft: Long Story, led in Farsi. About the exhibition Marian Penner Bancroft’s work is deeply rooted in photographic explorations of
Join us for a guided tour of our current exhibition, Marian Penner Bancroft: Long Story, led in Farsi.
About the exhibition
Marian Penner Bancroft’s work is deeply rooted in photographic explorations of the imagination and the material world. These interface with colonial histories, migration, objects and identities, allowing contemplation of durations ranging from deep time to the ephemeral.
Marian Penner Bancroft’s “Long Story” is an installation that brings together photographs, videos, and wall texts featuring both new works and related pieces created since 2000. These reflect the artist’s ongoing engagement with complex questions addressable through a careful examination of visual traces of human activity with reference to the natural world, providing viewers the possibility of considering their own stories in relationship to the spaces they inhabit.
West Vancouver Art Museum
680 17th Street, V7V 3T2
