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FEATURED EXHIBITIONSInto the Wosk Collection: Discovery & WonderAudain Art MuseumHannah Rickards: I am the infant and I am the bird Marianne and Edward Gibson Art MuseumStephen Shore’s Uncommon PlacesVancouver Art GalleryTania Willard: Photolithics The Polygon GalleryAdad Hannah Kimberly PhillipsMonika SzewczykSiobhan McCracken Nixon50–5556–5966–7160–65

Capture 2026 50Fred HerzogNorth Vancouver, 1958 inkjet print 30.5 x 37.5 cmCollection of Dr. Yosef Wosk

51 FEATURED EXHIBITIONSaudainartmuseum.comAudain Art Museum February 14 – April 27Curated by Adad Hannah and Kiriko Watanabe, Gail & Stephen A. Jarislowsky Chief Curator, Audain Art MuseumDr. Yosef Wosk’s extensive collection of more than four thousand objects encompasses photographs, sculpture, books and scrolls, lithographs, engravings, etchings, pochoirs, paintings, folk and circus art, textiles, postcards, furniture, architecture, Judaica and other global sacred art, stained glass, and ephemera. He began collecting stamps, coins, sports cards, comics, and marbles as a child, and his first purchase of art was a Japanese calligraphic scroll when he was age sixteen; his collection therefore has been accumulated over sixty years of dedicated acquisition. Works in his holdings range from large fifteenth-century carved Venetian window surrounds, to manuscripts from the eleventh century, to daguerreotypes from the 1850s. Makers from around the globe are represented. While some polymaths direct their wide-ranging interests and knowledge toward solving particular problems or achieving finite goals, the diversity evident in Dr. Wosk’s holdings shows an appreciation for the ever-expanding Into the Wosk Collection: Discovery & WonderGroup ExhibitionAdad Hannah

Capture 2026 52networks of meaning that are created when a collection of disparate and often exquisite objects is brought together under one roof.Into the Wosk Collection: Discovery & Wonder, curated by myself and Kiriko Watanabe, the Audain Art Museum’s Gail & Stephen A. Jarislowsky Chief Curator, presents a constellation of works on paper – photographs and prints focusing on landscapes, still lifes, and portraits – rather than attempting to represent the entirety of Wosk’s holdings.Anne Brigman’s untitled photograph of herself and three companions evokes the sense of experimentation and play that has long been fundamental to artistic creation. This image, which particularly attracted my attention and became my first selection for the exhibition, recalls the unfixed boundaries of youth and the formative experiences of friendship and shared time. The four women, their hair blown from the left, gaze off to the viewer’s right, their attention fixed on something beyond the frame. Yet one of the women is Brigman herself, prompting the question: Are they actually focused on events outside the frame, or are they performing for the camera? The detailed yet incomplete narratives that so many photographs convey exemplify what draws me to the medium – the way the rectangular format delineates so neatly between the included and the excluded, capturing minute details within the frame while simultaneously gesturing toward the vast, unknowable world beyond its edges.André Kertész’s photo Chez Mondrian (1926) presents an interior that, once its location is known, invites the viewer to draw connections with Mondrian’s paintings. We find ourselves attempting to transpose the architectural lines that divide the photograph with the intersecting lines familiar from Mondrian’s canvases, seeking to connect the artist’s exterior life with his interior calculations. This photograph points to the automatic calculations I think we all perform when confronted with an image. These calculations naturally vary – to lesser and greater degrees – for each of us as we attempt to discern what is occurring, what we are observing, and what it means to us. This photograph operates simultaneously as a series of discrete elements: the hanging hat with a jacket or black fabric behind it, the exquisitely lit flower in a vase, and the more architectural arrangement of lines and curves visible in the hallway beyond the door. Yet suddenly it coheres as a unified image which, like Mondrian’s paintings, can no longer be understood through a focus on individual components – a straight black line against a white background, or a coloured rectangle – but instead must be apprehended as a complete assembly, its individual parts rendered insignificant once the whole is fully taken in.Edward Weston’s beautifully formal photographs of a shell and a bell pepper illustrate the representational magic (and obvious deceit) of photography, wherein an object can be represented and elevated through a single burst of light captured from a particular vantage point on film or a prepared plate (or, in contemporary practice, a CMOS sensor in a camera or phone). While the method of capture has changed, the fundamental technology of lenses focusing reversed images on the wall of a darkened chamber has remained constant since the invention of photography in the first half of the nineteenth century.Examining a broad range of photographs from the collection reveals Dr. Wosk’s interest in and respect for creative professionals, reflected in his numerous portraits of artists themselves: Alexander Liberman’s image of Marcel Duchamp’s hands as he plays chess, Man Ray’s close-cropped portrait of Ernest Hemingway, and Henri Cartier-Bresson’s portrait of Matisse surrounded by his pet doves. While CartierBresson coined the term “decisive moment” to describe photography’s ability to freeze time and motion at the exact moment the photographer chooses to release the shutter, he did not necessarily wait for the singular moment but rather moved through scenes with his camera, taking pictures as he worked toward the optimal moment. In this photograph, we see Matisse in his studio in 1944, his mobility limited following an operation for abdominal cancer, tending to his doves while sketching in a large book. During this period, cutouts became an important form of expression, as he could no

53 FEATURED EXHIBITIONSlonger paint and sculpt as before. One can imagine that perhaps here he was sketching pages for the Jazz suite, elements of which we have included in the exhibition.Many of the images in Into the Wosk Collection: Discovery & Wonder are complex on their own, yet together they form a broader picture of what interests the collector, the artists represented, and, indeed, the curators. This plurality of voices and approaches, spanning more than a century of artmaking, encourages viewers to engage deeply with the works, exploring their compositions, tones, shadows, textures, and lines. Such engagement fosters new interpretations and expands the field of visual understanding, allowing the artworks to remain vital and continually renewed through the act of viewing.Anne BrigmanUntitled [A stylized portrait, possibly depicting Brigman herself with friends], c. 1910gelatin silver print19.7 x 24.8 cmCollection of Dr. Yosef Wosk

Capture 2026 54Henri Cartier-BressonHenri Matisse, Vence, France, 1927(printed 1970s)gelatin silver print23.8 x 36.2 cmCollection of Dr. Yosef Wosk© Fondation Henri Cartier-Bresson / Magnum Photos

55 FEATURED EXHIBITIONSEdward WestonShell, 1927 (printed 1970)gelatin silver print24.1 x 18.4 cmCollection of Dr. Yosef Wosk© Center for Creative Photography, Arizona Board of Regents

Capture 2026 56Hannah RickardsTo enable me to fix my attention on any one of these symbols I was to imagine that I was looking at the colours as I might see them on a moving picture screen: GF, 2025 photo-lithograph and screenprint on paper55.8 x 76.2 cmCourtesy of the Artist

57 FEATURED EXHIBITIONSProduction of this exhibition was made possible in part through an artistic collaboration with Malaspina Printmakersgibson.sfu.caMarianne and Edward Gibson Art Museum March 7 – June 14Curated by Kimberly Phillips, Director, Marianne and Edward Gibson Art MuseumHannah Rickards: I am the infant and I am the bird Kimberly PhillipsA vast similitude interlocks all, All spheres, grown, ungrown, small, large, suns, moons, planets, All distances of place however wide, All distances of time, all inanimate forms, All souls, all living bodies though they be ever so different, or in different worlds... –Walt Whitman1Hannah Rickards’s 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. While her projects have often analyzed natural phenomena – for example, dissecting the sound of a thunderclap or plotting a community’s disparate testimonies of a witnessed mirage – they have been less focused on the phenomena themselves than on generating a set of theoretical frameworks for apprehending them.

Capture 2026 58Rickards’s solo exhibition of new work at the Gibson Art Museum marks a subtle but significant shift in the artist’s focus, occasioned in part by her move in 2022 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, pasture, and lumber mills, encircled by rocky benchland – invoked a kind of metabolic shift in the artist’s approach. While the question of where and how we place our attention has always been fundamental to Rickards’s work, I am the infant and I am the bird invites an uncoupling from contemporary culture’s relentless “attention economy” to invite a consideration of how we might more carefully attend to the world’s ways of revealing itself to us.Rickards’s installation is characteristically spare. Mounted across two of the Gibson’s galleries, the videos and still images are lit only by daylight, tinged pink by a translucent film applied to the rooms’ narrow windows. Lengths of reflective orchard tape, omnipresent across the Okanagan region, flutter softly at the floor vents. Marking the entrances to each space, and serving as a sort of guide between them, is a free-standing monitor. The video works on these screens show only monochromatic fields of grey, as the footage was recorded in the weak light before dawn, but at rare moments the form of a hummingbird appears, barely discernible, hovering within the frame as though suspended in time. Viewers intent on moving quickly into the galleries will miss this encounter altogether; the exhibition rewards a willingness to slow down.The centre of the large gallery is anchored by a single-channel video work. Visitors are invited to regard Figure Ground (2025) from a set of weatherworn bleachers transported from Rickards’s property, where they normally stand, witness to the seasonal shifts (whether drifting snow or wildfire ash), facing the mountain ridge. Figure Ground depicts nighttime footage gathered over years by an infrared trail camera erected in Rickards’s 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 Hannah RickardsFigure Ground (still), 2025single channel video with sound60 min.Courtesy of the Artist

59 FEATURED EXHIBITIONSthe erratic flight of a moth, a grazing deer that pauses to stare arrestingly at the camera, or just long stretches of wheat grass nodding in the breeze.Present here – as in all of Rickards’s works – is the influence of experimental twentieth century composer John Cage. By attuning his audiences to everyday sounds and embracing chance as a compositional strategy, Cage proposed a radical reconsideration of the parameters of music.2 Similarly, Rickards’s actions are restrained; she limits authorship to the creation of “empty” frameworks within which the world reveals itself. By enabling non-events to be perceived, the artist invites viewers to resist imposing any hierarchy of vision or meaning.The photo-lithographic-and-silkscreen prints hung in the small gallery offer further evidence of Rickards’s experiments in patience and releasing control. This series, titled To enable me to fix my attention on any one of these symbols I was to imagine that I was looking at the colours as I might see them on a moving picture screen (2025), was generated using remote viewing, a paranormal practice of perceiving a distant or hidden subject without the aid of the senses. To create these works, Rickards enlisted the help of friends who were in locations unknown to the artist. At a pre-agreed time, the friend became attentive to their surroundings while elsewhere Rickards sat alone at her desk, attuned to shapes, lines, and textures that arose in her mind’s eye, drawing them without attempting to give them meaning. Only later, when the friend sent a photograph of their location, would Rickards discover echoed forms in her own drawings. For Rickards, her role in the exercise was analogous to that of the trail camera: an open awareness through which images pass and are translated into visible form.In its alertness to the vitality 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.”3 Photographers were obliged to wait patiently for their images to appear and often spoke of an inability (chemically and psychically) to fully control or fix the medium. In a recent re-examination of the history of photography, film theorist Kaja Silverman suggests that while conventional readings emphasize photographs’ stasis (i.e., their demonstration of “this-has-been” and “this-is-no-more”), we would be wiser to approach photography as “the world’s primary way of revealing itself to us—of demonstrating that it exists, and that it will forever exceed us.”4The cyclical waxing and waning of tinted daylight inflects visitors’ readings of I am the infant and I am the bird, and ensures it will never be experienced twice in precisely the same way. Infused with the imperceptible temporalities of both hummingbirds and the glaciers that shaped the Okanagan Valley, Rickards’s works remind us that we are part of an interconnected world that is alive and in constant movement. And while, as Silverman stresses, humans are reluctant to acknowledge some of these similarities, particularly those that call our primacy into question, photography is the vehicle through which such unsettling but important relationships are revealed to us. “Photography analogizes the analogies that reside at the heart of human perception: those through which we see and are seen,” she notes, “helping us recognize what we might otherwise foreclose.”51. Walt Whitman, Leaves of Grass, eds. Richard Maurice Bucke, Thomas B. Harned, and Horace L. Traubel (New York: Doubleday, 1902), 2:22.2. Cage is best known for his 1952 composition 4’33”, the score for which he instructed the musician to refrain from playing their instrument for the duration of the piece. The music was instead produced by the ambient sounds of the performance venue and audience itself. Recounting the debut performance of the work, Cage noted, “You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third people themselves made all kinds of interesting sounds as they talked or walked out.” Quoted in MoMA Highlights: 375 Works from the Museum of Modern Art, New York (New York: Museum of Modern Art, 2019). 3. William Henry Fox Talbot, “Photogenic Drawing,” Literary Gazette, and Journal of the Belles Lettres, Arts, Sciences, etc., no. 1150 (February 2, 1839), 72–5.4. Kaja Silverman, The Miracle of Analogy: Or the History of Photography, Part 1 (Redwood City, California: Stanford University Press, 2015), 10–11.5. Ibid., 11.

Capture 2026 60Tania WillardOnly Available Light (detail), 2016archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928, 8:44 min.), projector, quartz crystals and photonsdimensions variableoriginal composition by Leela GildayCourtesy of The Blackwood, University of Toronto, MississaugaPhoto: Toni Hafkenscheid

61 FEATURED EXHIBITIONSthepolygon.caThe Polygon Gallery March 7 – May 24Curated by Monika Szewczyk, Audain Chief Curator, with Serena Steel, Assistant Curator, The Polygon GalleryTania Willard: PhotolithicsMonika SzewczykPhotographic images have captured mere seconds and minutes of the ancient story of the sun on the land. 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 deep time represented in stones is the time frame of spirit and ancestral knowledge. But we are human, and our stories and memories are restricted by our own lifetimes and the length of narrative and remembrance. The extensive collection of recent human experiences caught in bits of silver by small exposures to universal events and the passage of light draws us into stories, to see our own reflections or lack of them.1So begins Tania Willard’s catalogue essay for the 2016 exhibition Nanitch: Early Photographs of British Columbia from the Langmann Collection, co-organized by Presentation House Gallery (now The Polygon Gallery) and the University of British Columbia Library.

Capture 2026 62While this essay reflects on a historical collection of photographs, Willard’s words have proven foundational for much of her practice in the intervening years and certainly for my work with her as a curator. The first segment of Willard’s essay (“Grandmothers and Grandfathers”) challenges the notion of what is “early” and what came first in photography, as Willard casts aside the often repeated notion that photography begins in the early nineteenth century with attempts to fix various impressions etched by light on chemically sensitized surfaces. As she notes, “fixed moments on paper have done much to undermine Indigenous rights,” referring not only to photographic images but also to titles and treaties. Instead, Willard reminds us of the lasting effects of light on land – geological formations – which can be dated back billions of years. At stake here is the history – and therefore the present and future – of the very lands and communities where Willard was born and belongs. European photography – in the form of surveillance, anthropology, and advertising for settler recruitment – consistently aided the colonial process, and thereby interrupted millennia of Indigenous tradition and innovation throughout what relatively recently came to be called British Columbia. Yet Willard does not propose a simple return to a past before colonialism. Rather, reflecting on the future, she investigates the socio-political context beyond the frame of historical photographs. And she steers optic vehicles of violence toward other ends. The second segment of her essay (“History is a Pile of Stones”) offers this constructive prompt: “If we look at these images carefully we can see behind the dominant narrative. We can peer into the shadows and backgrounds, leaving the foreground as evidence of the ways in which photographs suggest, evoke, construct, and fictionalise.” The third segment (“Clearing Stones”) considers acts of colonial erasure in imaging and land use, attending closely to one photographic album in the Langmann Collection, which is devoted to the community of Walhachin in Secwépemc territory (which is tellingly mislabelled). We learn that the settlers’ failure to acknowledge and portray, let alone learn from, the generations of Indigenous people nurturing life in these lands spells their failure to establish their desired “Canadian Camelot,” but not Tania WillardVestige, 2022laser etching on garnet sandpaper (160 sheets), copper nails (640)223.5 x 457.2 cmForge Project Collection, Traditional Lands of the Moh-He-Con-Nuck

63 FEATURED EXHIBITIONSbefore great damage is done. The fourth segment (“Stones as Grave Markers”) considers further the problematic fixation on photographing Indigenous burial sites and confronts the myth of “the vanishing race” – convenient only for the colonist – with an image of 3,500 First Nations people gathering to deal directly with the Crown, in the week of the Queen’s birthday, in the pivotal year of 1864.2Willard concludes her 2016 essay with an interruption of her own, this time to the entire logic of what she sums up as the settler lens. In the last segment of her essay (“Stones Are Time Travellers”) it becomes clear that she is offering not simply a new image but an entirely new way of seeing: “Distance can allow us to reshape our vision. All of this is measured and told through light on the land.” A new measure – another dimension – is sought and found. Rather than rejecting photography as a colonial tool, Willard reimagines it along lines summed up in this conclusive paragraph:An image is “recorded” by our eyes, on photographic film, via cathode rays, or in tree rings and stones acting as witnesses to deep time and the effects of light on matter. Whether biologically, chemically, or electronically recorded, image formation depends on what bits of light we can translate and read. A stone represents the entire set of processes involved in the formation of the Earth; we can read deep time through understanding and examining the geological conditions in which it was made. A photograph can similarly be read in terms of its paper and chemistry, its format and borders, its construction and composition, its subject matter and sociopolitical context. If you look in this way, with knowledge and balance, then a photograph, like history, is as heavy as stone.3As the interplay of light and lithic life – stones, minerals, crystals – guides Willard’s reframing of historical time and photography, we call her show Photolithics. A neologism (combining ancient words for “light” and “stone”) was necessary to signal a paradigm shift. Like economics, politics, aesthetics, and physics, photolithics may be understood as a faculty, a discipline of making and of understanding the world. From Only Available Light (a 2016 video installation involving the re-presentation of Harlan I. Smith’s film The Shuswap Indians of British Columbia from 1928) to her most recent photographic series, Through and Through (which began in 2025 and features her own photographs of Secwépemc lands), Willard often chooses to perceive and project through crystals. The resulting interruptions and refractions go well beyond the postmodern gesture of deconstruction. They are an act of honouring the vitality of each person and place depicted. Willard’s compositions involving historical photographs or films are a particularly sensitive terrain, as they show vistas once framed so as to be colonized, as well as people and their creations once captured so as to be killed – if not literally, then culturally. Re-presenting such images runs the risk of inflicting great damage; they carry the memories of the settler lens. Yet the act of remembering is also, always in Willard’s case, an act of transformation. She hones her vision through gathering friends and berries, tending to garlic and many other plants, tanning hides, studying, and always thinking through making. In this continued assertion of belonging (rather than ownership), the land is not simply an image. The land becomes a lens.4Willard’s exhibition is conceived to traverse ten years of practice – multifaceted, like a gemstone – with a focus on photography. An important point of departure is the 2022 work entitled Vestige, made some years after the Nanitch catalogue essay was written, yet using a postcard Willard found while researching the Uno Langmann Family Collection of BC Photographs – and 1. Tania Willard, “Witnessing the Persistence of Light,” in Nanitch: Early Photographs of British Columbia from the Langmann Collection(North Vancouver: Presentation House Gallery and University of British Columbia Library, 2016): 63. “Nanitch” is a word for “looking” in the Chinook trade jargon. 2. 1864 was the first year of such meetings, which were held in the lead-up to Canada’s 1867 constitution as a dominion. Willard contextualizes the image in the aftermath of the Chilcotin War of 1864, sparked by land encroachments and wilful spread of the smallpox epidemic. While the Tsilhqot’in warriors were executed, Governor Seymour, representing the Crown, met with the 3,500-personstrong delegation in New Westminster. She sums up: “Photographs like these challenge politically expedient representations of a so-called dying race. Our ancestors did not lie down: they gathered, negotiated, appealed, attacked, and engaged in exchange.” Ibid., 70. 3. Ibid., 72.4. This notion arose in a conversation with curator and collector Jeffrey Boone – whom I wish to thank.

Capture 2026 64Tania Willard From the Anthro(a)pologizing series, 2017–18 cyanotype on paper 55.8 x 76.2 cm Collection of the First Peoples’ Cultural Councilthen found again in a family archive, this time with the following inscription on the back: Sophie Paul – died in mid 30s, the sister of tskwayásxn, Neskonlith Reserve. Willard scanned that postcard and printed Vestige – or rather laseretched it across 160 sheets of garnet sandpaper – at a vastly expanded scale of 88 x 180 inches. If a European comparison is useful, this is the scale of history painting. But this is a new order of imaging asking us to look and consider what remains of historical materials differently.The copper- and sand-toned image takes time to cohere when looked at, refusing the fast consumption of a postcard photograph. We can make out a woman sitting on a horse, reins and whip in hand, turned and looking steadily at the camera while the horse looks ahead. Behind them is a hill lined with trees.5 At bottom, off-centre, the postcard publisher’s inscription reads “Shuswap Native.”6 Yet the etched sandpaper, made up as it is from abrasive garnet minerals and thus a product of the land, proves as tough to define as it is to touch. “This is a Monument” can be made out in a large modern font superimposed by the artist at centre. And if this immediately calls up equestrian statuary, with all of their historical weight, Vestige does not fit comfortably into the colonial canon of mounted generals and kings. Colonial queens or noblewomen, when depicted astride a horse (and this was rare), were seated side-saddle, implying limited command. By contrast, Sophie Paul straddles her horse with visible balance and calm confidence. Underneath, upside down, and therefore mirroring the above declaration, we read: “This is

65 FEATURED EXHIBITIONSnot a monument.” There is no one way of looking at Vestige, and it cannot be situated neatly on a timeline. As if to underscore the alternate shape of spacetime at play, the central equestrian portrait is flanked by two photographs made by Willard – or rather one image, doubled and mirrored – showing the expertly woven lid of a basket. Step back and these twin close-ups of cedar roots, coiling well beyond the bounds of the photographic print into what seems like infinity, look back at you, stone-faced, like the woman on the horse.7A key passage from Willard’s master’s thesis elucidates the transgenerational agency of this and other works: I am accompanied by dreams of ancestors. In this research I seek to reawaken these dreams into a reality wherein our people are empowered and our histories are recognized, our land claims are honoured and our belongings and ancestral remains returned. Of course this is a tall order, but it is in faith of the ways in which our work resonates, the metaphysics (Frideres 42) of ancestral knowledge that I place this dream. I like to think that part of our ancestors’ rationale for depositing their knowledge in museums was that they dreamed that one day we, as future grandchildren, would find this knowledge and bring it back. My Aunty, Joyce Willard, has said of Isaac Willard’s work with anthropologists and his depositing of archaeological finds to the Kamloops Museum and other institutions that he had told her it was more like a temporary housing until our people could take better care of these things (in a period of extreme social distress prompted by colonization). It is this greater responsibility that informs my work.8Tania Willard’s continued attention to belongings (found in family collections, archives, and museums) and belonging (to land and community) constitutes a kind of lucid dreaming. Her works of art weave together several specific times and spaces, spanning the distance between the artist, her elders, and her ancestors. To make room for her works – the paradigm shifts they summon and the community they reflect – a presenting institution needs to emphasize how Willard’s images may be looked at, but more importantly, how they are there to be looked through, at the waking world. Finally, considering how they look back in turn. The forms of woven vessels, which flank the central figure in Vestige, and which recur throughout Willard’s work, are emblems of an ancient yet continuously evolving geometry. They carry clues to linking past, present, and future innovations in ethics and aesthetics – in other words – Indigenous world views. As I write, Willard prepares a summation of her ongoing historical research into interior and coastal Salish basketry from photographs she has made in collections, historical documents, and conversations with friends, thus honouring ancestor artists unnamed and named. Configured into a window treatment for the entirety of The Polygon Gallery’s main exhibition space, the signature weaving patterns unite the function of image and lens. They are printed on transparencies and cut vinyl so as to let the sun in to do its work.5. Notably, the silver in the light-sensitive gelatin emulsion, which initially cohered under the sun’s rays to reflect the woman, horse, and land, is here translated into the silica mineral, garnet, the chief component of the sandpaper used by Willard.6. “Shuswap” is the anglicized version of Secwépemcstín languages and Secwepemcúłecw, or the vast traditional territories of Secwépemc people, to whom Tania Willard belongs.7. The artist has noted that there are many Secwépemc stories wherein beings are frozen into stone, become part of the land, and can be called on to navigate it.8. Tania Willard, “Casting Light to Fill Shadow: A Decolonial Aesthesis in Secwepemcúl’ecw” (master’s thesis, University of British Columbia, Okanagan, 2018), 6.

Capture 2026 66Stephen ShoreKing Street, Hamilton, Ontario, August 9, 1974, 1974 (printed 2013–14)chromogenic print50.8 × 61.0 cmCollection of the Vancouver Art Gallery, Gift of the Chan FamilyVAG 2023.11.133Photo: © Stephen Shore, Courtesy of the Vancouver Art Gallery

67 FEATURED EXHIBITIONSPresented with the visionary partnership of the Christopher Foundation and the generous support of the Phillips Family. The Vancouver Art Gallery acknowledges the financial support of the Province of British Columbia.vanartgallery.bc.caVancouver Art Gallery March 27 – July 19Organized by the Vancouver Art Gallery and curated by Siobhan McCracken Nixon, Audain Associate Curator of BC ArtStephen Shore’s Uncommon PlacesSiobhan McCracken NixonUncommon Places is a landmark series of colour photographs of the North American cultural landscape, taken between 1973 and 1981 by American photographer Stephen Shore. It is known for capturing the often overlooked places and ordinary scenes and objects of everyday life with remarkable clarity and vibrant colour. Shore transforms the mundane into a rich tableau of unassuming intersections, sparse parking lots, commercial buildings, idiosyncratic interiors, and roadway landscapes, as well as images of the people he encountered along the way. First published as a book in 1982, this body of work is noted for its contemplative and detached quality as well as its compelling detail; it comprises hundreds of images made on multiple road trips across North America.

Capture 2026 68The Vancouver Art Gallery’s presentation is drawn from the 801 photographs from the series held in its Permanent Collection. Following a major gift from the Chan Family, it is the most comprehensive representation held by any museum in the world. The remarkable depth of the collection reveals thematic strands and uncovers the emergence of a range of visual motifs and formal concerns within the project. Taken as a whole, this expansive body of work offers deeper insight into Shore’s influential and enduring career, illuminating his pivotal role in shaping contemporary photography and the magnitude of his photographic legacy.The Vancouver Art Gallery foregrounds some of the lesser-known themes in the series, such as Shore’s photographs made in Canada, the portraits created during his travels, as well as the iconic images of life on the road. This interview with Stephen Shore was conducted via email.Siobhan McCracken NixonThe Uncommon Places series is known for capturing the essence of American culture in a particular time and place, yet you also travelled north into Canada, photographing in various cities in Alberta, Saskatchewan, Manitoba, and Ontario along the way. What drew you to cross the border into Canada and what were you curious to see or find here? Stephen ShoreEach time I took a cross-country trip in the 1970s, I followed a different route. In 1973, I headed west along U.S. 2, the northernmost U.S. highway. In 1974, I took the next route to the north. It really was as simple as that. I felt myself an explorer and wanted to see new territory. SMNWhat do you recall about these Canadian places and images from the series? Did you consider these places as having a different or distinct feeling from American images at the time? For example, what caught your attention visually in some of these places in Alberta, Saskatchewan, or Ontario? SSThe two places that still stand out in my memory are Gull Lake and Regina. I had very productive days there. But this was more than fifty years ago, and while I’ve seen these images repeatedly over the ensuing years, I can’t honestly say I actually remember making the pictures.SMNIn the back of the Uncommon Places book, your artist statement includes the phrase “time stands still.” How has your relationship to these images changed over the years? How do you think the meaning of the series has shifted with time, especially as America’s cultural and physical landscape has evolved? What strikes you most now about revisiting them in the present moment?SSI know that some people say this work is nostalgic. They are describing their feelings, not the pictures. The photographs clearly are of a past landscape, but when I took them there was nothing nostalgic about them. My own response is, in a way, the exact opposite. I’m struck by how present they feel – not chronologically present, but psychologically present. If a photographer is in the moment when making a photograph, that image continues to reside in the present.SMNUncommon Places is less known for the portraits you made along the road, yet the Vancouver Art Gallery’s collection contains very compelling portraits and images of people. What was your approach to photographing people within this project, and how did those encounters happen? SSSince I was working with a view camera on a tripod, I had to have the co-operation of the subjects. Some people I approached, some were friends. Working with a view camera makes the process much slower and more deliberate, but I find that people are interested in the camera and are often willing to co-operate.SMNDo you see these portraits as part of the same visual or conceptual inquiry as the landscapes and built environments, or as something distinct within the project? Did photographing people present different challenges or rewards compared to photographing places?SSMy project the previous year was called American Surfaces. It was shot with a small 35mm camera. In general terms, that project contained architectural images, cultural details, and portraits. Uncommon Places keeps a similar mix, but because of the slowness and deliberateness of the view camera, there were fewer portraits. SMNVancouver is a city known for its lens-based artists, such as Stan Douglas, Rodney Graham, Fred Herzog, Jeff Wall, and Ian Wallace, to name but a few. How do you feel about having this important series (and such a comprehensive representation of this body of work) now

69 FEATURED EXHIBITIONSStephen ShoreMichael and Sandy Marsh, Amarillo, Texas, September 27, 1974, 1974 (printed 2013–14)chromogenic print50.8 × 61.0 cmCollection of the Vancouver Art Gallery, Gift of the Chan FamilyVAG 2023.11.189Photo: © Stephen Shore, Courtesy of the Vancouver Art Gallery

Capture 2026 70in the Vancouver Art Gallery’s collection and showing these images within the Vancouver context and its history of photography? SSVancouver has an amazing tradition in contemporary art. I knew Jeff Wall and Rodney Graham. Rodney was represented by my gallery. It’s thrilling to have an institution hold so much of this project. But especially the Vancouver Art Gallery, with the vibrant scene in Vancouver.SMNThe book has a quote from Louis Sullivan’s Kindergarten Chats regarding “the art of seeing.” How and has your concept of seeing or slow looking changed given how digital technology, social media, and now AI is transforming photography and visual culture? SSI understand Sullivan to mean seeing meta-cognitively – being self-aware of seeing. My experience of seeing was channelled by thirty years of using primarily an 8x10 view camera. 8x10 work bends toward intentionality. It’s just how I see now, even when I’m using my phone. I’ve been the director of the Photography Program at Bard College since 1982. The class that I teach every year, that I think of as the single most important class we offer, is a class on the use of the view camera. All of our photography majors take it. It’s the class where the students learn to see consciously with heightened attention. Two-thirds of the way through my class last semester, I asked the students if any of them found that they entered a flow state while they were working. They all raised their hands. I find it interesting that this state of mind seems to be engendered by the slowest, most cumbersome camera.

71 FEATURED EXHIBITIONSStephen ShoreTimberline Motel, Banff, Alberta, August 20, 1974, 1974 (printed 2013–14)chromogenic print50.8 × 61.0Collection of the Vancouver Art Gallery, Gift of the Chan FamilyVAG 2023.11.165Photo: © Stephen Shore, Courtesy of the Vancouver Art Gallery

Capture 2026Claudia Goulet-BlaisUn geste familier | A Familiar Gesture, from the Entre tes mains | In Your Hands series, 2025inkjet print127 x 101.6 cmCourtesy of the ArtistPart of Pull Them in Close /Se Tenir Proche at Alliance Française Vancouver

SELECTED EXHIBITIONSThe Selected Exhibitions Program features photography and lens-based exhibitions at galleries, museums, and other venues across the Lower Mainland. The program is chosen by a jury who evaluates submissions according to three criteria: curatorial concept, artistic excellence, and overall impact.2026 JuryRui Mateus AmaralArtistic Director, Museum of Contemporary Art (MOCA), TorontoRebecca BairArtist and Assistant Professor, Emily Carr University of Art and DesignR. Stuart KeelerChief Curator, TD Bank Art & Heritage CollectionsEmmy Lee WallExecutive Director and Chief Curator, Capture Photography Festival74757677787980–818283–8485868788899091–92939495969798Alliance Française VancouverArt Gallery at Evergreen | Evergreen Cultural Centre Artrageous Pictures and FramingBurnaby Art Gallery Offsite | McGill Library沙甸鹹水埠 Canton-sardineChinese Canadian MuseumEquinox GalleryGallery JonesJames Black GalleryMedia Res GalleryMONOVA: Museum and Archives of North VancouverNorth Van Arts | CityScape Community ArtsSpaceOr Gallery Pale Fire Pendulum GalleryRichmond Art GallerySidney and Gertrude Zack GalleryThe Polygon Gallery The Reach Gallery Museum THIS GalleryWest Vancouver Art MuseumWil Aballe Art Projects

Capture 2026 74Claudia Goulet-Blais and Michelle Caron-PawlowskyPull Them in Close | Se Tenir ProcheMichelle Caron-PawlowskyUntitled, from the Finishing Holds | Prises Finales series, 2025inkjet print mounted on plywood 53 x 53 x 15.5 cm Courtesy of the Artistalliancefrancaise.caAlliance Française VancouverApril 8 – May 5Pull Them in Close | Se Tenir Proche brings together works from two respective series: Entre tes mains | In Your Hands (2025) by Claudia Goulet-Blais, and Finishing Holds | Prises Finales (2025) by Michelle Caron-Pawlowsky. Through acts of touch, gesture, and performance, both artists consider how relational connections and mortality shape identity and the ways we inhabit and inherit complex familial roles.Entre tes mains | In Your Hands traces the shifting bond between mother and daughter. Mother and artist perform for the camera as stand-ins for broader familial encounters, revealing pressures of responsibility, inheritance of care, and transformations of roles over time. Staged gestures and obscured identities prompt reflection on who cares for whom and how these roles evolve through experiences of loss, closeness, distance, and change.Finishing Holds | Prises Finales draws on the visual universe of professional wrestling as a metaphor for care, absence, and grief, where the final move of a wrestling match parallels the final instance of holding a dying loved one. Drawing on the history of public combat as an ancient commemorative funeral ceremony, sculptural selfportraiture is used to reimagine the mourning ritual through the lens of professional wrestling.Together, Goulet-Blais and Caron-Pawlowsky engage in an image-based dialogue where photographic performance becomes a vehicle for stories of transformation, care, connection, and kinship.

75 SELECTED EXHIBITIONSKaren ZalameaEvery Surface Is a ShrineKaren ZalameaHerbarium (after Flora de Filipinas), 2024–25cyanotype on watercolour paper30.5 x 23 cmCourtesy of the Artist Curated by Katherine Dennisevergreenculturalcentre.ca/exhibitArt Gallery at Evergreen | Evergreen Cultural CentreMarch 7 – May 24Every Surface Is a Shrine brings together a selection of photo-based works by Karen Zalamea that traces the shifting boundaries between material, memory, and place. Rooted in a critical exploration of photography’s expanded possibilities, Zalamea’s practice reimagines the medium not only as an image-making tool but as a methodology of care, labour, and cultural inquiry.Spanning sculpture, installation, video, and historical processes, the exhibition highlights Zalamea’s sustained engagement with her diasporic identity. Central to the exhibition is Sunken Garden (2020–), a growing body of work that transforms her ancestral home in Quezon City, Philippines, into a site of archival and speculative reconstruction. From manipulated still and moving images of chico trees to handwoven photographic ropes made from reprinted family archives, Zalamea enacts what she terms “trans-Pacific kinwork” – a way of linking generations, geographies, and embodied histories through intimate material processes.The exhibition takes its title from a sculptural object: a marble slab, with its inscription of text evoking geological memory and the embedded weight of repeated touch. The concept of surface as a site of memory further expands in Herbarium (after Flora de Filipinas) (2024–25), which reconfigures nineteenth-century botanical illustrations as cyanotypes – layering colonial histories of extraction with photographic processes tied to scientific imaging and feminist authorship.Across these interconnected works, Zalamea meditates on photography’s role in holding, translating, and reanimating histories. Her practice foregrounds the photograph not as a static representation but as a mutable object to forge correspondences between the personal and the political, the archival and the embodied.

Capture 2026 76Makito InomataDomesticated ObjectsMakito InomataConflict, 2023archival inkjet print58.4 x 84 cmCourtesy of the Artist artrageousnorthshore.comArtrageous Pictures and FramingApril 1–30We are all creatures that love to collect and display objects that are meaningful to us. Perhaps we do this because we know that our lives are ephemeral and these objects help to solidify memories and act as proof of our own existence.We collect books that have expanded our minds, beach rocks that piqued our interest, and beautifully coloured cookware that brings joy to our kitchens. These objects not only provide an unwritten narrative, they also help establish our own identity and personal space.A personal space is a curated space. There is a hierarchy and an order to any given space, which is told to us through the arrangements of its objects. Whether they are displayed on walls, shelves, or desktops, these objects tell us what is important and sentimental to any particular individual or household. These objects may reflect novelty, culture, history, and values. They are what makes a home more than just a dwelling. Inomata’s work explores the domestication of these collected objects by invoking a sense of familiarity, nostalgia, and curiosity for the viewer.

77 SELECTED EXHIBITIONSSharyn YuenSuspended in TimeSharyn YuenWedding 1932, from the Jook Kaak series, 1986 photo emulsion, graphite, handmade paper82 x 106 cmCity of Burnaby Permanent Art CollectionCurated by Cameron McLellanburnaby.ca/recreation-andarts/arts-and-culture-facilities/burnaby-art-galleryBurnaby Art Gallery Offsite |McGill LibraryMarch 25 – July 7This series of photographic prints on handmade paper documents the artist’s trip to her ancestral village of Namcheng, China, in 1986 to gain insight into her family history. Each work documents a different stage of the journey, mirroring her parents’ own movement between Canada and China, before and after World War II. Exploring varying temporal and geographical relationships, they echo a family history involving marriage, familial separation, and eventual emigration to Canada, where the artist was born.Titled Jook Kaak (1986), referencing a bamboo knot and the idea of existing between two cultures, this series investigates joy, overwhelming emotion, and the importance of family in spite of distance. The works read almost as a short novel – an apt form for an artist who has worked extensively with papermaking. The textural quality of the paper, combined with applied imagery, emphasizes a sense of timelessness inherent in the series.Though grounded in personal history, Yuen’s work reflects a diasporic experience that may resonate with many Canadians, including separation impacted by historical events, the complexity of family dynamics, and a kind of cultural suspension that provides no clear, simple answers. Previously shown in the group exhibitions Yellow Peril: New World Asians (1988) and Yellow Peril: Reconsidered (1991), both curated by Paul Wong, the historical distance from this series’ creation in 1980s Vancouver only seems to amplify these concerns in a contemporary context.

Capture 2026 78Steven DragonnVancouver may never be poetics between Montparnasse and MongkokSteven DragonnIf You Are Lucky Enough To Have Lived In Paris As A Young Man, Then Wherever You Go For The Rest of Your Life, It Stays With You, For Paris Is A Moveable Feast …, 2022inkjet print142 x 191 cmCourtesy of the Artist and Canton-sardineCurated by Xiaoyan YangThe Canada Council for the Arts has supported the creation of work in this exhibitionPlease note the gallery is accessible by stairway and elevator.canton-sardine.com沙甸鹹水埠 Canton-sardineApril 11 – June 13Steven Dragonn’s images always conceal a delicate tension beneath a surface of restraint. His camera never imposes; his narratives are devoid of spectacle, yet every frame harbours quiet unease. The tones are refined, the gestures modest, but the stillness conceals turbulence. In Vancouver may never be poetics between Montparnasse and Mongkok, the artist situates himself between three cities – Guangzhou, Paris, and Vancouver – each acting as both home and site of exile. The poetic distance among them transforms into an allegory of migration and memory.The work begins from the everyday: a CD, a corner of a home, the spine of a book. But within these details, the gaze turns upon itself – a confrontation between sight and reflection, reality and its fiction. Dragonn’s protagonists are himself, his silent family, and the quiet strangers around them, caught in a theatre of restrained emotions. His photographs are not mere records; they are the mirrored residues of a life continuously translated across languages and geographies.Responding to the legacy of the Vancouver School’s conceptualist approach, this exhibition gathers such fragments into a field of reflection – where the poetic and the prosaic coexist, and where Vancouver becomes not a destination, but a question suspended between the contemporary West and East.

79 SELECTED EXHIBITIONSGroup ExhibitionMontréal Chinois: The Lost Decades /Les décennies perdues Photography 1945–1960sChuck YipA Sunny Afternoon at St. Lambert with Victor Hum, Mae Greg, Chong Joe and Norma Woo, c.1950sinkjet print35.5 x 52.5 cmCourtesy of the McCord Stewart Museum Curated by Dr. Melissa Karmen Leechinesecanadianmuseum.caChinese Canadian Museum October 15, 2025 – May 10, 2026This exhibition presents a rarely seen archive of Chinese Canadian life in Montreal from 1945 to the 1960s, drawn from the McCord Stewart Museum. It highlights a generation of self-taught photographers – Arthur Lee, his brother Samuel Lee, their friend Peter Wong, Vancouver-born Chuck Yip, and later Chong Hong Ho – who worked outside institutional frameworks and challenged their community’s erasure from dominant histories.The Lee brothers’ and Wong’s photographs captured snapshots of tight-knit friendship circles, recording moments at the beach, on ski trips, and in everyday gatherings, offering a rare window into Chinese Canadian life during a period of profound social change. Arthur Lee, the eldest son of early migrants from Toisan, built a life in Montreal through family businesses like Wing Noodles Ltd., while also working with his brother Samuel and close friend Peter Wong to document community life. Chuck Yip, grandson of pioneer Yip Sang, extended this impulse, creating annotated albums and collages layered with travel, memory, and diasporic ties. Later, Chong Hong Ho, who moved from Guangzhou to Manitoba and Arkansas before settling in Montreal, carried this documentary spirit forward, photographing migration, family, and everyday gatherings. Together, their images highlight a distinct sense of style, capturing how Chinese Canadians shaped community life with confidence and flair.Set against the Quiet Revolution and Beat generation, their portraits, cityscapes, and gatherings reveal Chinese Montrealers as active in cultural transformations. Montréal Chinois reframes cultural memory, highlighting how these photographers captured the everyday life of Chinese Canadian communities in a changing city.

Capture 2026 80Maya FuhrStella Star, 2025pigment ink on archival cotton rag paper55.8 x 81.2 cmCourtesy of the ArtistCurated by Nikki Peckequinoxgallery.comMaya FuhrSole PartsEquinox GalleryApril 16 – May 16Sole Parts brings together Maya Fuhr’s manipulated images of altered shoes and figures in a world of preserved bodies and material transformation. Working with analogue photography, latex, aluminum, and tape, Fuhr treats the photograph as a shifting surface that creases, glistens, and folds under its own weight. Images once meant to seduce are consumed by their own materials, suspended between glamour and decay.Shoes coated and sealed in latex slip outside their original identity, caught between object and relic. Their glossy skins mirror the cut-out silhouettes drawn from Fuhr’s own editorial archives, where bodies are outlined, emptied, and held in place by the same materials used to protect and perfect the soles of shoes on set. These figures carry the residue of past photoshoots, the self-expression of posing, taping, and preserving, now stripped and suspended in unfamiliar states.Tape and latex become a gesture of care, containment, and a means to mask perfection. Through these transformed objects and outlined bodies, the work opens a view into the unseen labour that shapes allure – the surfaces that preserve, the hands that maintain the illusion, and the subtle systems that capture and direct how desire comes into being.

81 SELECTED EXHIBITIONSAngela Grossmann and Eadweard MuybridgeAngela GrossmannUntitled, 2010oil on vintage carte de visite17.5 x 12.5 cm Courtesy of the Artist and Equinox Galleryequinoxgallery.comEquinox GalleryApril 16 – May 16Equinox Gallery presents an exhibition of photo-based work by Vancouver-based artist Angela Grossmann, shown in conversation with photogravures by Eadweard Muybridge from his 1887 series Human and Animal Locomotion. Created more than a century apart, the works in this exhibition employ photography in experimental ways to examine the figure, movement, and human gesture, positioning the body as both subject and medium.The exhibition highlights an ongoing facet of Grossmann’s artistic practice: her interventions on found cartes de visite, small photographic portraits which were popular in the 1800s. Translating to “visiting cards,” these portraits were early forms of selfrepresentations, exchanged among members of mainly upper-class circles. Grossmann reinterprets these anonymous portraits, now described as the original selfies, through layered painting and collage, transforming them into psychologically charged studies of memory, femininity, and vulnerability.Muybridge’s Human and Animal Locomotion series, captured through rows of cameras triggered in rapid succession, introduced a new scientific understanding of motion by depicting bodies in precise, sequential frames. His pioneering studies of human movement engage with the photograph as a dynamic site where time, narrative, and identity intersect. Together, Grossmann and Muybridge consider the photographic image as a fluid and multifaceted medium, giving close attention to how images can be reframed to explore the complexities of time and identity in photography.

Capture 2026 82Fei DisbrowQuietly PalpableFei DisbrowCrept, 2025sublimation print on aluminum28 x 76.2 x 5 cmCourtesy of the Artist and Gallery JonesCurated by Shane O’Briengalleryjones.comGallery JonesApril 4–25In Fei Disbrow’s artistic practice, the materials used are in support of the exploration of texture and shape. The artist’s rigorous composition is the syntax by which this relationship is expressed. Previously, Disbrow has used fabrics such as cotton, wool, felt, and mylar to add dimensionality to two-dimensional work. Some of the fabrics evoke a subtle symbolism, such as Oxford cotton, or present an incongruent relationship, such as Tyvek stitched over linen, but the considered and meaningful placement of form, colour, and line is the connective tissue that unifies the object.Working with photography is no different for Disbrow. The various textures come from photographs of cryptogam, a classification of organisms that includes mosses, lichens, and algae. By printing directly onto metal that Disbrow cuts and shapes, she can make work that is both representative of the organisms and something entirely different, creating an in-between space: a familiar form and texture that seems to have mutated or gone astray.That photography is the main tool for image-making in these works might be perceived as ironic, given that the subject matter is like an abstract painting that covers a significant portion of the Earth’s surface. But to be out in the world contemplating the ground covering is precisely the quiet experience that Disbrow was seeking and is now communicating. It is significant that the supporting structure of these artworks is photography, very slow photography, as this measured approach echoes the exploratory nature of Disbrow’s artistic practice.

83 SELECTED EXHIBITIONSRashi SethiBetween Stillness and MotionRashi SethiHair Braiding (Cinemagraph), 202516mm film projection300 x 400 cmCourtesy of the ArtistPlease note this exhibition is not wheelchair accessible.thejamesblackgallery.caJames Black GalleryMarch 27 – April 10Between Stillness and Motion is presented as two monumental cinemagraphs projected onto gallery walls through 16mm film projectors, playing in an endless loop. Surrounding these moving images is an array of miniature still frames – photographic enlargements drawn from the same film – arranged vertically to evoke a film strip laid flat.Emerging from an exploration of analogue approaches to lens-based art, this work pushes the boundaries of innovation in media art techniques by resisting its confinement to the digital realm. The cinemagraphs are shot, developed, edited, and projected entirely through analogue processes. This material engagement foregrounds tactility and process, emphasizing the physical labour embedded in both imagemaking and the rituals of self-care pictured in the cinemagraphs.The looping nature of the cinemagraph destabilizes the notion of a decisive moment, inviting viewers to linger within repetition and drift. In contrast, the still frames interrupt the flow of motion – isolating the individual fragments that make up the illusion of movement. The image of a girl having her hair braided unfolds as a ritual of daily patience: a gesture both intimate and enduring. Through its endless looping, the work meditates on the slow temporality of care, repetition, and stillness. The analogue projection adds a sensory depth to this act, immersing the viewer in a rhythm that is both continuous and suspended.Between Stillness and Motion becomes evidence of the camera’s yearning to hold time still, allowing viewers to drift through repetition and rhythm, observing how stillness and movement continuously fold into one another.

Capture 2026 84Dave Rodden-Shortt EndlingsDave Rodden-ShorttEndlings, 2025digital renderingCourtesy of the Artist Please note this exhibition is not wheelchair accessible.thejamesblackgallery.caJames Black GalleryApril 16–30Endlings is a two-room installation using lens-based technologies to examine institutional observation, extinction, and the violence of the gaze. The work centres on Martha, the last passenger pigeon, whose 1914 death catalyzed modern conservation while revealing how museums function as sites of both preservation and erasure.Room one employs Pepper’s Ghost projection – a nineteenth-century optical illusion – to animate Martha within a miniature recreation of her Cincinnati Zoo enclosure. Viewers peer through a small aperture to see the projection on glass, forcing intimate proximity with her captivity. The looping animation creates “extinction-onloop”: Martha perpetually reanimated by the systems that destroyed her, never allowed to rest, mirroring contemporary de-extinction projects seeking to genetically resurrect the passenger pigeon.Room two inverts the optical apparatus. A camera obscura positioned to observe room one allows viewers to watch other visitors through this historical scientific instrument. The lens inverts the image, rendering human observers strange and specimen-like. Crucially, the camera obscura image exists only in the moment of viewing: look away and it disappears. This ephemeral quality mirrors the impermanence of species themselves – present one moment, irretrievably gone the next. Viewers occupy Martha’s position: observed, catalogued, objectified through optical technologies of surveillance and documentation, their presence as fleeting as hers.The work interrogates how lens-based media – projection, camera obscura, museum display, scientific documentation – have functioned as tools of colonial control over nature and narrative. By situating viewers within overlapping systems of observation, Endlings asks: What does it mean to be an endling? And as humans face potential extinction through ecological collapse, who will remain to observe us?

85 SELECTED EXHIBITIONSTannaz SaatchiThrough Tangled ThreadsTannaz SaatchiThrough the Static, from the A Language I Almost Speakseries, 2025archival inkjet print63 × 76 cmCourtesy of the ArtistCurated by Shadi Shadbahrmediasresgallery.comMedias Res GalleryApril 18 – May 2In Through Tangled Threads, Tannaz Saatchi traces the layered complexities of diasporic identity, where cultural memory is inherited rather than lived. As a second-generation immigrant raised in the Iranian diaspora, Saatchi uses photography to examine the meaning, emotion, and historical value attached to inherited objects, images, and traditions that have shaped her cultural identity. Looking at her subject through a diasporic lens, she explores how collective memory is carried forward, and how it shifts and becomes abstract with time and distance. Her photographs invite viewers to consider identity as a layered and negotiable construct of imagination.The exhibition weaves together three interrelated series. In Through Tangled Threads (2024), archival photographs and culturally significant objects are physically intertwined, creating textured surfaces that reveal the entanglement of memory, absence, and belonging. Around the Kitchen Table (2024) turns to domestic rituals, where family narratives are pieced together through objects rather than faces, mapping a lineage built through memory rather than direct experience.In A Language I Almost Speak (2025), Saatchi embraces the tension between authenticity and performance, staging symbolic objects under the studio spotlight to explore how identity is both embodied and performed.Across these works, Saatchi bridges the space between presence and absence, between inherited culture and contemporary existence. Her photographs speak to the dissonance and beauty of living in-between – where identity finds form in quiet persistence – ever evolving, ever reaching.

Capture 2026 86Group Exhibition Adventures in Grouse MountainWilliam DekurGrouse 22 “Labatt’s 79”, 1979inkjet print 60 x 60 cmNVMA No. 218 Museum & Archives of North Vancouver - MONOVA CollectionCurated by Rebecca Pasch, Andrea Terrón, and Georgia Twissmonova.caMONOVA: Museum of North VancouverFebruary 4 – December 6MONOVA’s archival collection of Grouse Mountain Resorts Ltd. (spanning the 1950s to the late 1970s) offers more than just a nostalgic glance back. It serves as a platform for critical reflection on how photography shapes memory, identity, and our understanding of place. These recently donated images, which document the launch of the Skyride and the ecological, social, and architectural transformation of Grouse Mountain, are lens-based artifacts that engage with time, technique, and authorship. This collection speaks powerfully to the drive to expose the unseen and question the power dynamics behind “the view,” in that it reveals not just what was photographed, but how it was captured, by whom, and for what audience. As we celebrate one hundred years of Grouse Mountain Resorts in 2026, we hope these images spark visitors to share memories and stories and reflect upon what the future may hold for “Vancouver’s Mountain.”These photographs do more than preserve history, they reactivate it. They invite audiences to engage with heritage, identity, and place in ways that are urgent, nuanced, and artistically resonant, offering a fresh lens through which to view the past and its lasting impact on the present.Adventures in Grouse Mountain is presented in conjunction with Significant Moments from the Last 100+ Years, on display at MONOVA Archives in Lynn Valley, and designed by Natalya Porter.

87 SELECTED EXHIBITIONSGroup ExhibitionExperiments in Photography: Image and ObjectScott KempSystem (sneaker to cereal), 2025magazine cutouts, plastic, adhesive, wood86 x 81 cmCourtesy of the ArtistCurated by Avery Hannignorthvanarts.caNorth Van Arts | CityScape Community ArtsSpaceApril 17 – May 23Experiments in Photography: Image and Object is a survey featuring the work of Solange Adum Abdala, Sophia Bakos, Phoebe Bei, Steven Cottingham, Emily De Boer, Lucien Durey, Stephanie Gagne, Khim Mata Hipol, Scott Kemp, Val Loewen, Alexine McLeod, Aaron Moran, Morgan Sears Williams, Grant Withers, Gerri York, and Ketty Haolin Zhang. This exhibition brings together diverse practices that challenge the traditional boundaries of photography.At its core, Image and Object explores the dynamic intersection of photography, sculpture, and installation. Here, photography transcends the flat surface, emerging as a spatial, tactile, and conceptual practice. The selected works reimagine the photograph not simply as a visual record, but as a physical entity, shaped by process and materiality. Whether through layering, object-making, assemblage, or installation, these works ask viewers to encounter photography as something to be experienced with the body as much as the eye.The exhibition highlights inventive uses of materials including paper, wood, film, fabric, resin, plastic, metal, and found objects. By engaging with these materials, the artists blur the lines between disciplines, transforming the photograph into sculpture, the image into an object, and the wall into space.Image and Object reflects the rich creative energy of Metro Vancouver’s contemporary art scene and celebrates photography as a living, evolving medium. In rethinking what a photograph can be, the exhibition invites audiences to see and navigate photographic works in bold new ways.

Capture 2026 88Vance WrightBa’oya Hubuk’esi (I Love Them By the Edge)Vance Wright Ba’oya Hubuk’esi (I Love Them By The Edge) (still), 2025 five-channel video with sound 5:00 min.Courtesy of the Artist Curated by Jenn JacksonThis exhibition is generously supported by the Canada Council for the Arts, the British Columbia Arts Council, and the City of Vancouver, along with numerous community partners, donors, and volunteers. Or Gallery is especially grateful for the visionary support of the Audain Foundation.Please note this exhibition is not wheelchair accessible.orgallery.orgOr GalleryJanuary 22 – May 2Ba’oya Hubuk’esi (I Love Them By the Edge) is an exhibition that explores the plurality of queer Indigenous intimacy and erotics alongside connections to family, community, and territory. The exhibition features three interrelated films and a series of photographs that document multiple activations of place through co-authored performances with the artist’s collaborative partners. The performative activations will expand across media – through film, photography, language, and sound – to address the ways in which relations to territory and community shape Indigiqueer identity. As a registered, reconnecting Two-Spirit member of the Tl’azt’en Nation, Wright engages plurality on multiple fronts, exploring what it means to cultivate relationships with territories that are beyond what is known as one’s home or homeland, the feeling of familiarity within and beyond the contours of biological familial connection, and the expanding bounds of queering land-based Indigenous art. Ba’oya Hubuk’esi (I Love Them By the Edge) is the first solo presentation of the works in the exhibition, including the premiere of a newly commissioned film, Keyoh: of/beneath the feet (2025), a walking performance, photographs, and several sculptures that invite audience activation.

89 SELECTED EXHIBITIONSReave DennisonTree WorkReave DennisonRiverside Forestry Products, 2025gelatin silver print40.5 x 51 cmCourtesy of the Artist and Pale FireCurated by Amy KazymerchykUnder 60 Tons is supported by the Canada Council for the Arts, British Columbia Arts Council, John and Helen O’Brian, Jane Irwin and Ross Hill, and Claudia BeckPlease note the gallery is wheelchair accessible but the washroom is not.palefireprojects.comPale FireMarch 19 – May 9Reave Dennison is a photographer and silver gelatin printmaker who documents maritime and forestry labour in the Pacific Northwest. Tree Work presents a selection of new black-and-white photographs that Dennison took while working as a beachcomber, sawyer, and arborist over the past five years. The images portray the environments, people, material culture, and technical craft of these disciplines. Dennison focuses his camera on the conditions he works in, so that he can shoot candidly and intimately. Forestry is a primary industry in British Columbia, comprising hundreds of responsibilities and skill sets. Yet there is relatively little familiarity with the roles these people play in the economy, or the impact that shifting political, ecological, and technological conditions have on the social fabric of the province.This spring, Pale Fire will also release Dennison’s first photography book, Under 60 Tons. Co-designed and co-produced with Information Office, the book features over 160 images that Dennison took while working as a crew member aboard small, versatile tugboats, which are classified as “under 60 gross tons.” These boats are being retired by companies in favour of larger, more streamlined vessels to comply with the tightening of Transport Canada regulations. Dennison’s photographs capture crew members who navigate marine machinery, infrastructure, and the elements, including hands-on chart work, compass work, and manual labour. Many of these skills and duties are being rendered obsolete by technology. Dennison observes and reflects on this industrial and cultural transition.

Capture 2026 90Pendulum GalleryApril 1–30Photography in its vernacular form is inseparable from consumption: we tap and click through digital spaces, endlessly viewing images and sharing them for others to consume. Aftertaste presents works by Poiesis Collective centred 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. Works by Jaiden George and Khim Mata Hipol challenge the touristic gaze, revealing how landscapes and culturally significant places are reduced to picturesque, consumable images. Collages by Paniz Mani unravel cultural hegemony embedded in circulating imagery, where aesthetics of white beauty are exported and reproduced in advertisements, which resonates with Sophie-Jane Brindle’s examination of commerce as an inextricable force entangled with femininity. Engaging the aesthetics of advertising, Charlie Mahoney-Volk’s billboards challenge westernized masculine archetypes. David Aquino’s discarded negatives visualize the material waste produced by analogue photography. Vanessa Denham explores how media materializes the waste of the infinite scroll. Portraits by Andream assess the personal costs of taking care of one’s health. Laura Ayres reflects on memory, endurance, and the sustaining power of visual remnants through personal archives and found imagery. As photography is increasingly all-consuming, Aftertaste prompts reflection on how our relationship to images may already be shaped by the logic of consumption, and what it might mean to engage with images otherwise.Poiesis CollectiveAftertasteDavid AquinoUntitled, 2025transparent shredded analogue film collage in lightbox60.9 x 91.4 cmCourtesy of the ArtistPoiesis Collective gratefully acknowledges the support of the Pendulum Gallery for this exhibitionpendulumgallery.bc.ca

91 SELECTED EXHIBITIONSGroup ExhibitionI DigressAnne KoizumiIn the Shadow of the Pines (still), 2020animation7:00 min.Courtesy of the ArtistCurated by Zoë Chanrichmondartgallery.orgRichmond Art GalleryApril 18 – July 5Representing a wide range of perspectives, I Digress presents work by artists who engage with both lived experiences and collective histories in their art practices. Some artists embrace an autobiographical or confessional vein, drawing from memoirs, diaries, and photo albums, while others mine existing archives and ephemera found in the public realm, employing a more documentary-style approach.Working across diverse media including photography, video, printmaking, embroidery, and collage, these artists bring into focus myriad memories and microhistories revolving around such varied topics as the intersection of class shame and diasporic experience; queer coming-of-age in conservative Alberta; the exploitation of Punjabi students and migrant workers in Canada; and the real and imagined fears that undergird artistic life.The exhibition includes work by Simranpreet Anand, Jo-Anne Balcaen, August Klintberg, Anne Koizumi, Lindsay McIntyre, and Gonzalo Reyes Rodriguez.

Capture 2026 92SIDE COREunder citySIDE CORErode work ver. under city (still), 2023multi-channel video projectiondimensions variableCourtesy of the ArtistsCurated by Shaun DaceyThis video was created in collaboration during a Civic Creative Base Tokyo Artist Fellowshiprichmondartgallery.orgRichmond Art GalleryApril 18 – July 5Richmond Art Gallery presents the first North American exhibition of emergent Japanese collective SIDE CORE’s dynamic approach to urban space, public systems, and street culture. Known for site-specific projects that blur the boundaries between contemporary art, skate culture, and urban infrastructure, the Tokyo-based collective presents a selection of video works and photographs that explore the often overlooked spaces of the city – from highways and railroads to drainage tunnels and underground waterways.At the heart of the exhibition is rode work ver. under city (2023), a striking multichannel video installation. Created in collaboration with renowned skate film crew Far East Skate Network, the work captures skaters navigating Tokyo’s subterranean environments – including storm water basins, disused transit tunnels, and maintenance corridors. These movements transform utilitarian spaces into expressive terrains, linking isolated structures into a speculative, virtual undercity.Like Richmond, much of Tokyo is built on reclaimed land and faces the constant risk of natural disasters. under city was shot in a regulating reservoir constructed as part of the city’s flood-control system. Although Tokyo and Richmond are separated by the Pacific Ocean, they share geological conditions as well as cultural and historical connections. Through this project, SIDE CORE seeks to reveal the invisible links that exist between such distant places.under city collapses the boundaries between visibility and invisibility, surface and depth, play and policy. The exhibition invites audiences to reconsider how cities are navigated, controlled, and reimagined – offering a powerful reflection on space, access, and agency in contemporary urban environments.

93 SELECTED EXHIBITIONSWes BellSnagWes BellSnag – Trans-Canada Highway, Gleichen, AB, Canada, 2015gelatin silver print40.6 x 50.8 cm Courtesy of the ArtistCurated by Sarah Dobbsjccgv.com/facility/facilityinformation/art-gallery/Sidney and Gertrude Zack GalleryApril 15 – May 18Snag emerged from a moment of profound personal reckoning. During a long drive across the windswept prairies of Alberta, shortly after saying goodbye to his mother, who was dying of cancer, Wes Bell became captivated by the eerie presence of shredded plastic bags tangled in barbed-wire fences along the road. Whipped relentlessly by the wind and slowly torn apart, these fragments became potent metaphors for grief, mortality, and the suspended space between holding on and letting go.Arranged in a continuous linear sequence along the gallery wall, the unbroken progression of twenty-four identically sized and framed photographs mirrors the flat, expansive prairie landscape – especially as it appears in the stark season between winter and spring. In this transitional time, the land feels stripped of vitality, rendered in muted, almost monochromatic tones that echo the emotional barrenness often experienced in mourning. The horizontal flow of images reinforces the monotonous openness of the Prairies, emphasizing the raw, lonely simplicity of the work. Using tactile analogue techniques, the materials heighten the physical presence of the images and underscore themes of erosion and impermanence, both in the land and in the emotional terrain the work inhabits. By avoiding digital processes, Bell preserves a sense of weight and authenticity that digital imagery cannot replicate. Snag stands as both meditation and memorial – a quiet, resonant exploration of fragility, transition, and the subtle ways loss reveals itself in the overlooked edges of the world.

Capture 2026 94Simranpreet AnandLiving with the EternalSimranpreet AnandSoftness in the Sikh Home, 2024embroidered framed photographsdimensions variableCourtesy of the ArtistPhoto: Erin Kirkland, Michigan Photography, UMCurated by Elliott Ramseythepolygon.caThe Polygon GalleryApril 18 – August 23Simranpreet 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 twentyfirst century.Anand is an artist, curator, and cultural worker creating and working between the unceded territories of the Kwantlen, Katzie, and Semiahmoo peoples (Surrey, BC) and the traditional territories of the Kalapuya people (Eugene, Oregon). Her art practice is informed by familial and community histories, often engaging materials and concepts drawn from the histories of Punjab and the Punjabi diaspora, and their disruption by global capitalism, colonialism, and migration. Anand was the recipient of the 2022 Lind Prize, which includes an opportunity to produce and present a project with The Polygon Gallery; this exhibition represents the culmination of that partnership.

95 SELECTED EXHIBITIONSGroup ExhibitionParallax(e): Perspectives on the Canada–U.S. Border / Perspectives sur la frontière Canada–É.-U.Claude ZervasNooksack Middle Fork, 2015four-channel video installationdimensions variableCourtesy of the Washington State Arts CommissionCurated by Dr. Julia Lum, together with Dr. Shawn Brigman, Dr. Michelle Jack, Deb Silver, Xémóntalot Carrielynn Victor, and Dr. T’uyt’tanat Cease WyssParallax(e) is generously funded by the Canada Council for the Arts, Canadian Heritage, the Terra Foundation for American Art, and the City of Abbotsfordthereach.caThe Reach Gallery MuseumJune 14, 2025 – May 30, 2026In the mid-nineteenth century, U.S. expansionist ambitions came into conflict with British territorial claims. Diplomatic negotiations led to the creation of the international boundary along the 49th parallel. But what do we really know about the history of the Canada–U.S. border? How was it visualized – through photographic and other means – and carved into the landscape over a century and a half ago? What perspectives are lost when we look at the boundary line from only two sides?The western end of the border was a geopolitical invention by British and U.S. officials, engineers, and surveyors working in Indigenous territories, which have their own sovereign boundaries. This landmark exhibition brings together for the first time iconic and lesser-known historical photographs, watercolours, and maps made by members of the Northwest Boundary Survey, who drew a line from the Salish Sea to the Rocky Mountains between 1857 and 1862.Parallax(e) is a collaboratively curated project that puts these nineteenth-century archival materials into dialogue with ambitious sculptures, photographs, installations, and new media works made by contemporary Indigenous and settler artists, including lens-based works by Corwin Clairmont, Michelle Jack, Andreas Rutkauskas, Deb Silver, Henry Tsang, and Claude Zervas.Together, these creative contributions explore the communities, cultural connections, and ecosystems that were here before, and persist today, despite the boundary line’s impact on lands, waters, and collective imaginations. Offering multiple perspectives on this legacy, Parallax(e) asks us to adjust our vision of the 49th parallel.

Capture 2026 96Gerri YorkA Wolf is not a DogGerri YorkA Wolf is not a Dog, from the A Wolf is not a Dog series, 2023–25archival inkjet print, faux fur, video projection60 x 69 x 81 cmCourtesy of the ArtistCurated by Shannon PawliwPlease note this exhibition is not wheelchair accessible.thisgallery.orgTHIS GalleryMarch 27 – April 12A Wolf is not a Dog proposes sculpture and photography as a hybrid language, where folds, light, and chance collapse human and animal distinctions into embodied forms. Gerri York’s photo-based work begins as small sculptures of folded photo-paper in the darkroom, which are placed under the enlarger light. Once exposed, they are unfolded, transformed into photographic prints, scanned, and digitally enlarged. These much larger prints are re-folded and combined with multimedia elements into threedimensional sculptures.Manipulating photo paper and darkroom chemicals produces abstract images that hover between interior and exterior, revealing and concealing. The folds hold within them a tension between what is seen and what is hidden. These works exploit this uncertainty, creating surfaces that are suggestive of life forms and processes of becoming, and the ineffable presence of the animal.Conceptually, York positions these sculptures within contemporary discourses on animals and the non-human. Donna Haraway’s “A Cyborg Manifesto” (1985) explores the idea that all animals are cyborgs and, in the sense that all humans are animals, she does not differentiate. It is this entanglement of organic and artificial that informs the work. The sculptures point toward the blurred boundaries between species, nature, and artifice. It is not just the condition of their well-being and survival; animals interrogate our humanity, reminding us of other ways of sensing and communicating.

97 SELECTED EXHIBITIONSMarian Penner BancroftLong StoryMarian Penner BancroftBluebell Stems, 2025chromogenic print61 x 76 cmCourtesy of the ArtistCurated by Pantea Haghighiwestvancouverartmuseum.caWest Vancouver Art MuseumMarch 14 – May 2Marian 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.

Capture 2026 98Patryk Stasieczekfor that gob casts the imagePatryk Stasieczekseemingly dark around me—motion, 2025gelatin silver fibre prints, acrylic airbrush medium, MDF, glass, UV stabilizer, archival board, archival foam-board48.2 x 38 x 5 cmCourtesy of the ArtistCurated by Alejandro A. BarbosaPlease note that the second floor of the gallery is only accessible by stairs, but is not part of this exhibition.waapart.comWil Aballe Art ProjectsApril 17 – May 23Patryk Stasieczek’s project configures the artist’s body as a photographic apparatus, one that renders their surroundings – professional and personal – onto hundreds of silver gelatin fibre-based paper negatives.Utilizing their lips, tongue, airways, and fluids, Stasieczek holds the referent, that which is depicted, literally in their skull – legible, once developed, mostly as abstraction. The contents of their mouth contaminate the chemistry of the black-andwhite process, pushing against the prescribed becoming of silver halides into metallic silver, rehashing analogue photography as a form of alchemy. These operations probe the aesthetic threshold between the interior and exterior of the body as a minor camera obscura that relays otherwise fleeting images that, incessantly, the mouth produces.for that gob casts the image contrives three major photographic principles: the chamber as an indiscrete device – not one but two spaces are required in photomimetic techniques; the Cartesian logic of the rectangular frame – whose potency frustrates organic forms’ imaging capabilities; and colour, freehandedly airbrushed, as a non-standardized, extra-photographic process. Metaphorically, these propositions thematize an excess, a surplus of photographic methods which tune, altogether, into this site-responsive installation.In this exhibition, Stasieczek proposes a possible solution beyond the figurative image to the unresolved ethics of queer agency in photography. They bring the queer body into question by disciplining its openings into an image-capable mechanism – not only is the queer body accounted for in front of and behind the camera, but also as the promise of an agential photographic device.