Jake Kimble is a two-spirited Chipewyan photographer living and working in Musqueam, Squamish and Tsleil- Waututh territories.
Jake’s work is impressively personal, sharing moments of reflection on identity, gender, and heritage. Each photo carries a distinct emotional weight while still keeping a sense of humour and relatability.
Learn more about Jake’s work and upcoming exhibits by visiting their website or Instagram.
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!
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.
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.
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.
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.
Exploring Métis-Led Cultural Care
Exploring Métis-Led Cultural Care
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.
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
Tracing the ancient threads of Northwest Coast weaving and spinning practices through the technologies of today, Jaad Kuujus’s art moves between generations, time, place, and mediums. Beyond the creation
Tracing the ancient threads of Northwest Coast weaving and spinning practices through the technologies of today, Jaad Kuujus’s art moves between generations, time, place, and mediums. Beyond the creation of replicas, her interconnected digital and material practice gives rise to descendant works — woven embodiments of kinship with the belongings, materials, and ancestors that inspire them.
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.
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.
Western Front is pleased to present Image Syncers, a solo exhibition by Canadian-British artist Nina Davies. The exhibition responds to current TikTok trends in which people mimic artificially generated videos,
Western Front is pleased to present Image Syncers, a solo exhibition by Canadian-British artist Nina Davies. The exhibition responds to current TikTok trends in which people mimic artificially generated videos, with Davies reimagining this choreographic phenomenon as a tool to disrupt visual economies and open up alternative modes of meaning-making.
At the centre of the exhibition is a 12-minute video framed as an episode of the fictional podcast What’s Sizzlin’. In it, host Bryce Snyder interviews journalist Teagan Carroll about her exposé on a break-in at the Trutch Seed Bank. Carroll reveals that the group responsible, known as the Plot Corps, physically reproduced AI-generated imagery to evade detection. Their discussion expands into broader reflections on “perception-collapse,” “image syncing,” and the evolving relationships between language, images, and bodies, in a world shaped by synthetic media.
Accompanying the video are sculptural works that expand the narrative world. A series of holographic forms appear as spectral stand-ins for the fictional Image Syncers, while transparent, vitrine-like backpacks display their personal belongings. These include smartphones showing images and footage of performances that evoke AI-generated scenes, yet were created entirely through analogue means—costumes, props, makeup, and lighting—as well as the “cursed hands” used by the characters to interface with generated worlds or manipulate real-world events.
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.
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.”
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.”
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
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.
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.
Realism in Pastel Exhibition by Catherine Sheppard
Realism in Pastel Exhibition by Catherine Sheppard
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.
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.
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.
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.
She – the Muse brings together three artists whose work dissolves the old divide between the artist and her subject. Vikki Drummond’s surreal, symbolic figures, Maryline Lemaitre’s layered dreamer figures,
She – the Muse brings together three artists whose work dissolves the old divide between the artist and her subject.
Vikki Drummond’s surreal, symbolic figures, Maryline Lemaitre’s layered dreamer figures, and Judith Geher’s iconic and muse-like portraiture all speak to an inner dialogue where the feminine is both the observer and the observed, the dreamer and the dream.
Together, their paintings trace a visual journey of self-invention – from bold strokes of colour and texture to whispered layers of emotion – offering a world where the muse no longer waits to be seen; she sees herself.
Since they got married, Glen and Sandy Golden have celebrated every wedding anniversary by coming to the same cottage for a romantic getaway. This weekend marks a major milestone: 50
Since they got married, Glen and Sandy Golden have celebrated every wedding anniversary by coming to the same cottage for a romantic getaway. This weekend marks a major milestone: 50 years of wedded bliss. Well, mostly bliss…. A week ago, Sandy cancelled their big anniversary party and kicked Glen to the curb. Now, he wants to talk. Join the Goldens as they recount the good, the bad, and the ugly of spending half a century together. From the writer of Bed and Breakfast and The Birds and the Bees, The Golden Anniversaries is a comedy-drama about marriage, memory, and a long-term love for the ages.
THIS Gallery is pleased to present The End of Tyranny, a new body of work by Bravebirdie. Grounded in the artist’s Ukrainian heritage and shaped by experiences of war, displacement,
THIS Gallery is pleased to present The End of Tyranny, a new body of work by Bravebirdie. Grounded in the artist’s Ukrainian heritage and shaped by experiences of war, displacement, and inherited trauma, the exhibition reflects on survival under impossible conditions. The works explore the fragile illusions of control we construct in moments of crisis, and the quiet relief that comes with the understanding that systems built on force are temporary. Neither triumphant nor redemptive, The End of Tyranny offers a calm acceptance of impermanence.
This solo exhibition spotlights the work of Jamie Gentry, a Kwakwaka’wakw artist based on Vancouver Island, whose practice is rooted in patience, precision, and deep personal meaning. On view is
This solo exhibition spotlights the work of Jamie Gentry, a Kwakwaka’wakw artist based on Vancouver Island, whose practice is rooted in patience, precision, and deep personal meaning. On view is a striking series of moccasins, each entirely handmade and adorned with intricate, lifelike floral beadwork that reflects both technical mastery and reverence for the natural world.
For more than twelve years, Jamie has created moccasins by hand, often collaborating with clients through highly customized beadwork. In this exhibition, however, she turns inward, creating solely for herself rather than for sale. These works mark a powerful shift in her practice: a journey of self-discovery, growth, and the deliberate act of making art as a gift of joy to oneself.
The exhibition also features large-format photographs that place the moccasins within the landscapes that inspired them, offering a poetic dialogue between object and environment. Together, the works invite viewers to consider care, intention, and the beauty that emerges when creativity is guided by personal freedom.
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
An exhibition focused on the extraordinary beauty, complexity, and resilience of trees. Through a series of detailed and evocative paintings and drawings, Pattern reveals sculptural forms, textured surfaces and abstract
An exhibition focused on the extraordinary beauty, complexity, and resilience of trees. Through a series of detailed and evocative paintings and drawings, Pattern reveals sculptural forms, textured surfaces and abstract patterns that become the focus of the works, inviting close observation and contemplation. The exhibition seeks to acknowledge the aesthetic richness of trees, and to draw attention to urgent environmental challenges.
The 19th Annual Coastal Dance Festival brings Indigenous artists together to share and support one another in a celebration of lived artistic practices. Guest national and international artists have connected
The 19th Annual Coastal Dance Festival brings Indigenous artists together to share and support one another in a celebration of lived artistic practices. Guest national and international artists have connected the festival with a global community of Indigenous dance.
The Ferry Building Gallery is pleased to present the annual poster exhibition featuring second-year students from Capilano University’s IDEA School of Design. This year, the IDEA class of ’28 turns its
The Ferry Building Gallery is pleased to present the annual poster exhibition featuring second-year students from Capilano University’s IDEA School of Design.
This year, the IDEA class of ’28 turns its focus to Canada as a site of inquiry, imagination, and critical reflection. Through graphic design, illustration, and visual storytelling, students explore what Canada means today—examining place, identity, history, culture, and contradiction.
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.
Outsiders and Others is pleased to present Immigration, an exhibition featuring 4 self-taught artists who emigrated to Canada. These artists are Yee Chan, Paulina Constancia, Svitlana Denysova and Anne Wang. The exhibition
Outsiders and Others is pleased to present Immigration, an exhibition featuring 4 self-taught artists who emigrated to Canada. These artists are Yee Chan, Paulina Constancia,
Svitlana Denysova and Anne Wang.
The exhibition features plein air paintings, traditional Ukrainian folk art, and paintings made with natural materials like onions, coffee, and turmeric.
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.
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.
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.
Join us for an afternoon of art and making celebrating the exhibition remember the earth, remember the sky. Check out the art in the Gallery or join an art workshop led
Join us for an afternoon of art and making celebrating the exhibition remember the earth, remember the sky.
Check out the art in the Gallery or join an art workshop led by exhibiting artists. Nicole Avanrenren will draw inspiration from dreams and Francisco Berlanga leads a playful piñata making lesson!
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.
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.
Led by Mexican artist Aranza Bergés Navarrete, this Date Night invites participants to bring drawings to life through the magic of flipbook animation. Drawing on her background in experimental 2D
Led by Mexican artist Aranza Bergés Navarrete, this Date Night invites participants to bring drawings to life through the magic of flipbook animation. Drawing on her background in experimental 2D animation and storytelling, Aranza blends technical skill with playful exploration, guiding participants through simple, hands-on approaches to creating movement on the page.
In this workshop, you’ll have the chance to create your own individual flipbook, as well as contribute to a collaborative group animation that will be digitalized on the night.
Who should attend
How long does it take to learn to love? This show for all ages is heartwarming and poetic. Follow the journey of a vain porcelain rabbit named Edward Tulane who learns
How long does it take to learn to love?
This show for all ages is heartwarming and poetic. Follow the journey of a vain porcelain rabbit named Edward Tulane who learns the true meaning of love through loss, hardship, and transformation. Edward begins an extraordinary journey across years and landscapes, passing through the hands of various owners. Is love worth the risk? And how long does is take to learn to love?
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.
Celebrate Creativity at the UNA Spring Art Fair! Celebrate the arrival of spring with a community celebration of art, creativity, and performance for all ages! The Spring Art Fair brings
Celebrate Creativity at the UNA Spring Art Fair! Celebrate the arrival of spring with a community celebration of art, creativity, and performance for all ages! The Spring Art Fair brings together local artisans, performers, and families for a day filled with music, crafts, and creativity.
Event Highlights
Celebrate Nowruz, the Persian New Year, by learning about the ancient art and practice of paper marbling! In this workshop, you will make designs on water to create a unique
Celebrate Nowruz, the Persian New Year, by learning about the ancient art and practice of paper marbling! In this workshop, you will make designs on water to create a unique piece of marbled paper to take home. Parsa Khatami will share the cultural history of Persian marbling, demonstrate the process, and guide participants in creating their own pieces, inviting you to slow down, connect with tradition, and craft something uniquely your own. All materials will be provided.
No prior experience is required, just a willingness to explore and create. All materials will be supplied. Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other kinds of stone. Marbled paper (Abri) was once called “papers from the sky” during the Ottoman, Safavid, and Mughal rule. Traditionally made by hand, it was most commonly used as a writing surface for calligraphy but also used for book covers and endpapers in bookbinding and stationery. Each print is a unique monotype.
Join Paint & Chill for a fun night out at Oliver Twist Pub & Grill, where you’ll paint “Mountain Valley Flowers.” This Burnaby paint night is the perfect excuse to
Join Paint & Chill for a fun night out at Oliver Twist Pub & Grill, where you’ll paint “Mountain Valley Flowers.” This Burnaby paint night is the perfect excuse to gather your friends and enjoy a vibrant social experience. No need to have any painting background—just bring your enthusiasm and we’ll provide everything you need for a memorable evening. With all supplies included, you’ll get to sip, laugh, and create in a relaxed atmosphere where nobody’s judging your work. Get ready to dive into a beautiful, nature-filled scene featuring stunning blue hues that capture the essence of a spring mountain valley. Paint & Chill has hosted over 250 events, so you know you’re in experienced hands. Each participant will receive a 16″ x 20″ canvas and all the painting supplies you could need.
Located at 7557 Edmonds St in Burnaby, Oliver Twist Pub & Grill is a fantastic venue for this paint and sip event. It’s surrounded by local attractions and is a great spot to kick off your evening. Whether you’re looking for things to do in Burnaby or planning a unique Burnaby date night idea, this event has you covered.
Since its writing, circa 1599-1601, William Shakespeare’s play The Tragedy of Hamlet, Prince of Denmark has been subject to countless interpretations. Eschewing words, Ex Machina + Côté Danse’s Hamlet, Prince of
Since its writing, circa 1599-1601, William Shakespeare’s play The Tragedy of Hamlet, Prince of Denmark has been subject to countless interpretations.
Eschewing words, Ex Machina + Côté Danse’s Hamlet, Prince of Denmark reinvents the archetypal drama into something raw and immediate. Canonical soliloquies that parse the darkest of human instincts and actions: corruption, suicide, betrayal and murder find a riveting new form.
Expanding upon their previous collaboration Frame by Frame (inspired by the work of visionary animator Norman McLaren), co-creators Robert Lepage and Guillaume Côté bring their respective genius to Shakespeare’s most famous work. Côté embodies the central character, wrestling with existential questions of being and nothingness, while Lepage, a master of multiple theatrical disciplines, infuses the Bard’s epic tale of intergenerational trauma with contemporary relevance.
With surtitles functioning as a kind of a Greek chorus, blood-red velvet drapery and pools of golden light from designer Simon Rossiter, the shadowy realm of dark motives and oedipal longing are made manifest. Composer John Gzowski’s original score further fleshes the narrative as the nine members of Côté Danse take on the roster of characters: Hamlet and Ophelia, Rosencrantz and Guildenstern, Horatio and Laertes, Gertrude, Claudius, and Polonius.
Through the universal medium of dance, the story is told anew, a play without words, but rich with its own language.
Explore the intricate art of pen and ink under the guidance of Permanent Collection artist Manabu Ikeda. This hands-on workshop invites adults to experiment with line, texture, and detail, drawing
Explore the intricate art of pen and ink under the guidance of Permanent Collection artist Manabu Ikeda. This hands-on workshop invites adults to experiment with line, texture, and detail, drawing inspiration from Ikeda’s extraordinary practice. No prior experience required.
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.
An art installation in a library? Poetry in the streets? Tiny artworks for the taking in a free little art gallery? Expect diverse art forms in unexpected places as festival
An art installation in a library? Poetry in the streets? Tiny artworks for the taking in a free little art gallery? Expect diverse art forms in unexpected places as festival host The Long Table Society and Burnaby’s creative community present StrideFest 2026, a celebration of curiosity, creativity and connection.
Enjoy visual and live performing arts, workshops, demos and more! With accessible and FREE family-friendly programming and experiences spreading across Burnaby, StrideFest is a colourful reminder that creativity happens all year long.
Let’s connect with the arts and with each other during StrideFest — not an art fair but an arts platform and arts showcase amplifying our city’s creative voices.
An art installation in a library? Poetry in the streets? Tiny artworks for the taking in a free little art gallery? Expect diverse art forms in unexpected places as festival
An art installation in a library? Poetry in the streets? Tiny artworks for the taking in a free little art gallery? Expect diverse art forms in unexpected places as festival host The Long Table Society and Burnaby’s creative community present StrideFest 2026, a celebration of curiosity, creativity and connection.
Enjoy visual and live performing arts, workshops, demos and more! With accessible and FREE family-friendly programming and experiences spreading across Burnaby, StrideFest is a colourful reminder that creativity happens all year long.
Let’s connect with the arts and with each other during StrideFest — not an art fair but an arts platform and arts showcase amplifying our city’s creative voices.
Fall(se) Circ(us) will explore the notion of rebellion against everyday complacency through shifting cycles of “work” and “rest,” inviting improvised movement as a form of resistance. Enquist’s experimental movement
Fall(se) Circ(us) will explore the notion of rebellion against everyday complacency through shifting cycles of “work” and “rest,” inviting improvised movement as a form of resistance. Enquist’s experimental movement language – a combination of Martial Arts, snowboarding style, and experimental floor work – will be embodied by an ensemble of seven local performing artists.
At its core, Fall(se) Circ(us) seeks to subvert expectations, transforming a traditional performance space into a shared celebration with audience members. It begins as a contemporary display of physical excellence—movement that seems to defy gravity and physics, often likened to “circus”. As the work unfolds, this intense physicality gradually dissolves to reveal a performers’ humanity — the circus falls into movement that becomes relaxed, learnable and participatory in real time. A simple hand gesture, a step, repeated throughout the show becomes an invitation for the audience to join the joyful rebellion on stage.
Participation is always optional; viewers may remain seated and observe, or they may “activate” their experience and enter the dance.
Since they got married, Glen and Sandy Golden have celebrated every wedding anniversary by coming to the same cottage for a romantic getaway. This weekend marks a major milestone: 50
Since they got married, Glen and Sandy Golden have celebrated every wedding anniversary by coming to the same cottage for a romantic getaway. This weekend marks a major milestone: 50 years of wedded bliss. Well, mostly bliss…. A week ago, Sandy cancelled their big anniversary party and kicked Glen to the curb. Now, he wants to talk. Join the Goldens as they recount the good, the bad, and the ugly of spending half a century together. From the writer of Bed and Breakfast and The Birds and the Bees, The Golden Anniversaries is a comedy-drama about marriage, memory, and a long-term love for the ages.
Hop on the bus and discover the treasures the UBC campus has to offer! We will start by exploring the art and permanent collections at the wonderful Beaty Biodiversity Museum,
Hop on the bus and discover the treasures the UBC campus has to offer! We will start by exploring the art and permanent collections at the wonderful Beaty Biodiversity Museum, followed by a guided tour of the exhibition at the Morris and Helen Belkin Art Gallery. Lunch will be at a local eatery or bring your own.
Cost includes transportation, admissions, and guided tour.
Since they got married, Glen and Sandy Golden have celebrated every wedding anniversary by coming to the same cottage for a romantic getaway. This weekend marks a major milestone: 50
Since they got married, Glen and Sandy Golden have celebrated every wedding anniversary by coming to the same cottage for a romantic getaway. This weekend marks a major milestone: 50 years of wedded bliss. Well, mostly bliss…. A week ago, Sandy cancelled their big anniversary party and kicked Glen to the curb. Now, he wants to talk. Join the Goldens as they recount the good, the bad, and the ugly of spending half a century together. From the writer of Bed and Breakfast and The Birds and the Bees, The Golden Anniversaries is a comedy-drama about marriage, memory, and a long-term love for the ages.
Experience the unforgettable scores of some of Hollywood’s most iconic classics. From the music of Titanic to The Godfather, and Star Wars
Experience the unforgettable scores of some of Hollywood’s most iconic classics. From the music of Titanic to The Godfather, and Star Wars to E.T. , enjoy an afternoon reliving your favourite movie moments with host Christopher Gaze and conductor Trevor Wilson.
Please join us for complimentary tea and biscuits starting at 1 pm.
Join Paint & Chill for a fun-filled evening painting “Pretty Bird” at Oliver Twist Pub & Grill. This is not your typical art class; it’s a casual and social event
Join Paint & Chill for a fun-filled evening painting “Pretty Bird” at Oliver Twist Pub & Grill. This is not your typical art class; it’s a casual and social event where you can relax, sip your favorite drink, and unleash your creativity. With all supplies included and a welcoming atmosphere, even beginners will feel right at home. Grab your friends and make it a night out you won’t forget, as you transform a blank canvas into your own version of this charming autumn-themed painting.
You’ll be painting a delightful scene featuring a colorful bird perched on a branch, surrounded by the vibrant hues of fall. You’ll receive all the necessary supplies, including a 16″ x 20″ canvas, and expert guidance throughout the two-hour session. This event is perfect for those of legal drinking age looking for a laid-back, creative evening.
Located in Burnaby, Oliver Twist Pub & Grill is the ideal spot for a Burnaby paint night, offering a cozy environment and delicious food and drinks. The venue is easy to find at 7557 Edmonds St, making it a great choice for a night out with friends. If you’re searching for Burnaby paint and sip adventures or simply fun things to do in Burnaby, this event fits the bill. Enjoy the convenience of a lively setting while you paint and sip, and make some unforgettable memories. Whether you’re looking for unique Burnaby date night ideas or just a casual evening, this event promises to deliver a good time.
