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DTEND;TZID=America/Vancouver:20250924T170000
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CREATED:20250627T214447Z
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SUMMARY:HOT OFF THE PRESS
DESCRIPTION:UBCO Printmaking\n\n\n\nCommunity GalleryJuly 25 – September 24\, 2025 \n\n\n\nOpening Reception: Thursday\, July 24\, from 6–8 PM \n\n\n\nHOT OFF THE PRESS showcases a diverse selection of new work created by students in the printmaking program at UBC Okanagan. Ranging from traditional techniques such as intaglio and relief printing to experimental\, mixed-media approaches\, the exhibition offers a vibrant cross-section of contemporary student print practices. \n\n\n\nSelected with the guidance of UBCO professor Briar Craig and sessional lecturer Dr. Darian Goldin Stahl—who also led the courses from which these works emerged—the exhibition reflects the rigour\, play\, and conceptual inquiry fostered in the studio. With students at different stages in their academic and artistic journeys\, the exhibition highlights both those just beginning to explore the fundamentals of printmaking and those using the medium to push the boundaries of process and form. \n\n\n\nTogether\, these prints speak to the evolving possibilities of printmaking as both a technical and expressive medium. HOT OFF THE PRESS celebrates the creative voices of a new generation of artists\, offering insight into the thoughtful\, hands-on\, and critically engaged work being produced in UBCO’s dynamic printmaking studios.
URL:https://vernonpublicartgallery.com/event/ubco-printmaking-hot-off-the-press
LOCATION:Vernon Public Art Gallery\, 3228 31st Ave\, Vernon\, V1T2H3\, Canada
CATEGORIES:2025,Exhibitions
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DTSTART;TZID=America/Vancouver:20250725T100000
DTEND;TZID=America/Vancouver:20251008T170000
DTSTAMP:20260613T152725
CREATED:20250627T212557Z
LAST-MODIFIED:20260402T183413Z
UID:10000179-1753437600-1759942800@vernonpublicartgallery.com
SUMMARY:Soft Architectures
DESCRIPTION:Sylvan Hamburger\n\n\n\n\n\nCaroline Galbraith GalleryJuly 25 – October 8\, 2025 \n\n\n\nOpening Reception: Thursday\, July 24\, from 6–8 PM \n\n\n\n\n    \n        Exhibition Publication    \n\n\n\nIn Soft Architectures\, Vancouver-based artist Sylvan Hamburger transforms everyday materials—bedsheets\, plywood\, floral fabrics—into large-scale installations that reflect on the changing face of our cities. Using printmaking\, sculpture\, and found objects\, Hamburger captures the textures of demolished homes and disappearing buildings\, turning them into poetic imprints of memory\, loss\, and resilience. \n\n\n\nHis prints don’t just depict buildings—they are made from them. By pressing fabrics against salvaged wood and walls\, Hamburger gathers physical traces of the spaces we live in\, and the ones we’ve lost. These haunting\, delicate works explore how the surfaces around us—like the grain of old floorboards or the floral pattern of a bedsheet—can hold personal and collective histories. \n\n\n\nSoft Architectures brings together work from the past five years\, documenting not only physical spaces\, but the emotional and cultural imprints they leave behind. At a time of intense change in our communities\, Hamburger’s work offers a thoughtful reminder to look closely at the surfaces around us\, noticing the textures and traces that are often erased in the rush of redevelopment. \n\n\n\n\n\n\n\nImage Description: Sylvan Hamburger\, Open House Press (detail)\, 2020\, relief print on bedsheet\, wooden dowels\, shiplap boards.
URL:https://vernonpublicartgallery.com/event/sylvan-hamburger-soft-architectures
LOCATION:Vernon Public Art Gallery\, 3228 31st Ave\, Vernon\, V1T2H3\, Canada
CATEGORIES:2025,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20250725T100000
DTEND;TZID=America/Vancouver:20251008T170000
DTSTAMP:20260613T152726
CREATED:20250627T220207Z
LAST-MODIFIED:20260402T183220Z
UID:10000181-1753437600-1759942800@vernonpublicartgallery.com
SUMMARY:Through Our Eyes
DESCRIPTION:Teen Junction\n\n\n\nUp-Front GalleryJuly 25 – September 24\, 2025 \n\n\n\nOpening Reception:Thursday\, July 24\, from 6–8 PM \n\n\n\nThrough Our Eyes is a community-based exhibition created by youth from the Teen Junction Youth Centre in partnership with the Vernon Public Art Gallery. This ongoing project gives voice to the lived experiences of Vernon’s youth\, offering a platform for expression\, representation\, and connection through the arts. Teen Junction provides a safe\, supportive after-school space for youth to connect\, learn\, and access resources when needed. \n\n\n\n\n\n\n\nImage Description: Chloe Zimmerman\, Untitled\, lino-prints\, 2025.
URL:https://vernonpublicartgallery.com/event/teen-junction-through-our-eyes
LOCATION:Vernon Public Art Gallery\, 3228 31st Ave\, Vernon\, V1T2H3\, Canada
CATEGORIES:2025,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20251003T100000
DTEND;TZID=America/Vancouver:20251224T160000
DTSTAMP:20260613T152726
CREATED:20250918T185244Z
LAST-MODIFIED:20260402T183108Z
UID:10000187-1759485600-1766592000@vernonpublicartgallery.com
SUMMARY:Populated
DESCRIPTION:Mark Thibeault\n\n\n\nTopham Brown Memorial GalleryOctober 3 – December 24\, 2025Opening Reception: Thursday\, October 2\, from 6–8 PMArtist Talk:Thursday\, November 27\, at 6 PM \n\n\n\n\n    \n        Exhibition Publication    \n\n\n\nPopulated by northern B.C.–based artist Mark Thibeault features large-scale abstract paintings exploring the shifting connections between people and the natural world. Initiated during the pandemic and continuing today\, the series embraces intuition and improvisation\, drawing on the biodiversity of northwest British Columbia. Thibeault’s multidisciplinary practice spans painting\, music\, and lutherie\, with his work reflecting both the fragility of ecosystems and our shared responsibility to them. \n\n\n\n\nThe Quickening\n\n\n\nWe Were Not Alone In The Garden\n\n\n\nBacchus
URL:https://vernonpublicartgallery.com/event/mark-thibeault-populated
CATEGORIES:2025,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2025/09/We-Were-Not-Al-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20251017T100000
DTEND;TZID=America/Vancouver:20251220T190000
DTSTAMP:20260613T152726
CREATED:20250918T190518Z
LAST-MODIFIED:20260402T182929Z
UID:10000188-1760695200-1766257200@vernonpublicartgallery.com
SUMMARY:Exposed!
DESCRIPTION:Members’ Exhibition\n\n\n\nCaroline Galbraith Gallery\, & Up-Front GalleryOctober 17 – December 20\, 2025Opening Reception: Thursday\, October 16\, from 6–8 PM \n\n\n\nOur annual Members Exhibition\, Exposed!\, provides a unique opportunity to showcase the breadth of talent within our local art community. This exhibition offers the public a chance to appreciate the diverse approaches and styles embraced by our members\, reflecting a deep engagement with artistic practice.
URL:https://vernonpublicartgallery.com/event/exposed
CATEGORIES:2025,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20251017T100000
DTEND;TZID=America/Vancouver:20251224T170000
DTSTAMP:20260613T152726
CREATED:20250918T193634Z
LAST-MODIFIED:20260402T182707Z
UID:10000189-1760695200-1766595600@vernonpublicartgallery.com
SUMMARY:Whispers of Home
DESCRIPTION:Marzieh Homayoun\n\n\n\nCommunity GalleryOctober 17 – December 24\, 2025Opening Reception: Thursday\, October 16\, from 6–8 PMArtist Talk: Saturday\, November 15\, at 6 PM \n\n\n\nMarzieh Homayoun\, an immigrant artist from Iran whose practice draws on the delicacy of Persian miniature painting. Her work blends natural imagery with surrealist elements\, offering a unique lens on the world around her. We look forward to featuring her work in the Community Gallery this October as part of our ongoing collaboration with Mackie Lake House. \n\n\n\n\n\n\n\nMarzieh Homayoun\, Traces of a Life\, 2025\, ink on paper
URL:https://vernonpublicartgallery.com/event/mackie-lake-house-air-marzieh-homayoun
CATEGORIES:2025,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260109T090000
DTEND;TZID=America/Vancouver:20260311T170000
DTSTAMP:20260613T152726
CREATED:20251121T172330Z
LAST-MODIFIED:20260402T181926Z
UID:10000212-1767949200-1773248400@vernonpublicartgallery.com
SUMMARY:Kitchen Corner
DESCRIPTION:Samuel Roy-Bois\n\n\n\nTopham Brown Memorial GalleryJanuary 8\, 2026 to March 11\, 2026 \n\n\n\nOpening Reception: Thursday\, January 8\, from 6–8 PMArtist Talk: Saturday\, January 24\, from 1-2 PM \n\n\n\n\n    \n        Exhibition Publication    \n\n\n\nKitchen Corner is the title of a Depression-era photograph by Walker Evans. While not adirect source for the works assembled here\, its rediscovery during the preparation of thisexhibition proved resonant. Evans’s image operates as a portrait of a context articulatedthrough objects. Documentary in nature\, it renders a modest interior where things—a frayedrag\, a slanted broom\, a patinated chair—assume the status of characters seemingly asking tobe observed\, “objects in a moment of pause between use.”1 What is striking\, however\, isthat Kitchen Corner withholds the very signifiers conventionally associated with a kitchen(no sink\, no stove). In this disjunction between title and referent\, the photograph underscoresthe complexity of representation and the capacity of objects to exceed their functionalidentity. \n\n\n\nThe works in this exhibition similarly dwell in thresholds of recognition. They positionobjects\, sculptures\, and bodies in states of indeterminacy: what reads as structure functions assupport; what appears fragmentary gestures toward wholeness; what suggests immediacyproves resistant\, even opaque. Produced over the course of eighteen months\, these workswere not initially conceived as a unified installation. Their subsequent convergence\, however\,revealed affinities of form and sensibility\, generating conditions for thought and affect thatexceed the sum of individual pieces. \n\n\n\nThe works composing this exhibition invite tension into the domain of the built environment.Each references architecture obliquely: through the evocation of house foundations\, theabstracted language of the maquette\, or vestiges of timber-frame construction. Despite theirvaried scales and spatial logics\, they converge around a shared problematic: the negotiationbetween the self and the possible. In their oscillation between recognition and estrangement\,they foreground the contingencies of agency and the fragility of ideals. Failure\, unfulfillment\,and speculation emerge not as deficiencies but as constitutive modes of experience\, openingonto a broader meditation on how subjectivity is continually shaped\, unsettled\, and redefinedthrough material encounter. \n\n\n\n1 Richon\, Olivier. Walker Evans: Kitchen Corner. MIT Press\, 2019. \n\n\n\nKitchen Corner\, 2026. (install image)\n\n\n\n\n\nBalloon (Vent)\, 2025. \n\n\n\n\n\nUnit (Arts and Gun Club)\, 2025. \n\n\n\n\n\nBalloon (Schematic)\, 2025.
URL:https://vernonpublicartgallery.com/event/kitchen-corner
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260109T100000
DTEND;TZID=America/Vancouver:20260207T160000
DTSTAMP:20260613T152726
CREATED:20251211T202234Z
LAST-MODIFIED:20260402T182450Z
UID:10000215-1767952800-1770480000@vernonpublicartgallery.com
SUMMARY:Art from the Heart
DESCRIPTION:SD#22 Elementary Students\n\n\n\nCaroline Galbraith Gallery\, Up-Front Gallery\, and Community GalleryJanuary 9 – Febuary 7\, 2026 \n\n\n\nOpening Reception: Saturday\, January 10\, from 1–4 PM \n\n\n\nThe Vernon Public Art Gallery is delighted to welcome back Art from the Heart\, our annual exhibition showcasing the creativity and imagination of elementary students from School District No. 22. This community favourite celebrates the joy\, curiosity\, and honesty found in children’s art\, offering a vibrant snapshot of how young learners see and interpret the world around them. \n\n\n\nFeaturing a wide range of mediums and subjects\, Art from the Heart fills the gallery with colour\, energy\, and excitement. We invite families\, teachers\, and community members to join us in supporting these emerging young artists and celebrating the value of arts education in our schools. \n\n\n\nThe Vernon Public Art Gallery extends its deepest gratitude to the dedicated art educators across School District No. 22. Their unwavering commitment to nurturing creativity in the classroom makes this exhibition possible each year and plays a vital role in fostering the next generation of artists and community leaders.
URL:https://vernonpublicartgallery.com/event/art-from-the-heart-3
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260213T090000
DTEND;TZID=America/Vancouver:20260311T170000
DTSTAMP:20260613T152726
CREATED:20260109T223430Z
LAST-MODIFIED:20260402T182330Z
UID:10000220-1770973200-1773248400@vernonpublicartgallery.com
SUMMARY:Art & Soul
DESCRIPTION:SD#22 High School Students \n\n\n\nCaroline Galbraith Gallery\, Up-Front Gallery\, and Community GalleryFebuary 13 – March 11\, 2026 \n\n\n\nOpening Reception: Thursday\, Febuary 12\, from 6–8 PM \n\n\n\nThis exhibition offers a sophisticated look at how emerging artists navigate their world through visual media. Featuring a diverse range of mediums\, from traditional painting and drawing to modern digital works and sculpture\, Art & Soul fills the gallery with the energy of a new generation. These works reflect not only technical growth but also the deep personal expression and critical thinking developed in the secondary art classroom. \n\n\n\nWe invite families\, teachers\, and the community to join us in celebrating these talented students. This exhibition is a testament to the power of arts education in our schools and its role in helping young people find their voice. \n\n\n\nThe Vernon Public Art Gallery extends its deepest gratitude to the dedicated art educators across School District No. 22. Their unwavering commitment to nurturing creativity and technical skill makes this exhibition possible each year\, fostering the next generation of artists and community leaders.
URL:https://vernonpublicartgallery.com/event/art-soul-3
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260320T100000
DTEND;TZID=America/Vancouver:20260516T160000
DTSTAMP:20260613T152726
CREATED:20260210T232858Z
LAST-MODIFIED:20260402T185746Z
UID:10000231-1774000800-1778947200@vernonpublicartgallery.com
SUMMARY:Blooming Together
DESCRIPTION:Cool Arts Society\n\n\n\n\n\nCommunity GalleryMarch 20 – May 16\, 2026Opening Reception: March 19 from 6 to 8 pm \n\n\n\nBlooming Together is a collaborative exhibition that explores themes of community\, diversity\, and collective growth. Created by the artists of Cool Arts Society\, the exhibition highlights how individual voices come together to form a vibrant\, colourful\, and ever-evolving whole. \n\n\n\nAt the centre of the exhibition is a large collaborative artwork representing community as a shared landscape. It is built through layers\, colours\, and connections. Alongside this work\, the artists present a series of clay masks\, each one unique\, illustrating the diversity of identities\, expressions\, and perspectives within the group. \n\n\n\nThe exhibition unfolds through three closely connected themes: Dream\, Birth\, and Growth. Lush jungle scenes inspired by the world of Henri Rousseau evoke imagination and a dreamlike atmosphere. Raised floral elements symbolize the birth of a growing community\, while the collective compositions emphasize the strength that emerges through collaboration\, inclusion\, and shared creation.
URL:https://vernonpublicartgallery.com/event/blooming-together
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260320T100000
DTEND;TZID=America/Vancouver:20260520T170000
DTSTAMP:20260613T152726
CREATED:20260204T210549Z
LAST-MODIFIED:20260402T185753Z
UID:10000227-1774000800-1779296400@vernonpublicartgallery.com
SUMMARY:Portals to Elsewhere
DESCRIPTION:Amy J. Dyck\n\n\n\n\n\nTopham Brown Memorial GalleryMarch 20 – May 20\, 2026Opening Reception: March 19 from 6 to 8 pmArtist Talk: April 18 from 1 PM \n\n\n\n\n    \n        Exhibition Publication    \n\n\n\nPortals to Elsewhere invites viewers into a dreamlike\, psychological landscape populated by strange\, shifting\, and resilient beings. Drawing from her lived experience with disability and chronic illness\, Amy J. Dyck creates hybrid figures that are continuously evolving\, layered with elements of human\, animal\, and mechanical forms. These creatures act as visual metaphors for imagination\, memory\, instinct\, resistance\, and self-protection—reflecting the complexity of what it means to endure and adapt. \n\n\n\nAt the heart of the exhibition is a large circular installation that transforms the gallery into a contemplative\, immersive environment. Seven evolving figures suggest movement through time\, even as they were created during a period when the artist’s body was in collapse. Windows appear throughout the work as a central metaphor—portals to other spaces and possibilities\, offering escape\, reflection\, and the hope of becoming something different. The exhibition ultimately becomes a wild\, otherworldly place where both artist and viewer are invited to imagine new ways of belonging\, resilience\, and home. \n\n\n\nAmy J. Dyck is a contemporary multimedia figurative artist and writer based in Langley\, British Columbia. After a sudden and severe illness in her early twenties left her using a wheelchair\, Dyck turned to art as a way to process and survive her changing reality. Her practice draws on classical approaches to anatomy and figurative painting\, combined with experimental mixed media processes that explore the body as a vessel for memory\, emotion\, and lived experience. Dyck exhibits widely\, with work held in private collections internationally. She has received multiple international awards\, was granted a Canada Council for the Arts award in 2024\, and is a frequent podcast guest and speaker. She is currently working on a memoir exploring the intersection of art\, illness\, and resilience. \n\n\n\n\n\nTwist with Moons\n\n\n\n\n\nBed-Desk Series (detail)\n\n\n\n\n\nAmy J. Dyck with Portals to Elsewhere
URL:https://vernonpublicartgallery.com/event/portals-to-elsewhere
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260320T100000
DTEND;TZID=America/Vancouver:20260520T170000
DTSTAMP:20260613T152726
CREATED:20260204T212601Z
LAST-MODIFIED:20260402T185750Z
UID:10000228-1774000800-1779296400@vernonpublicartgallery.com
SUMMARY:I'm in this World\, Doing
DESCRIPTION:Vivian Smith\n\n\n\n\n\nCaroline Galbraith GalleryMarch 20 – May 20\, 2026Opening Reception: March 19 from 6 to 8 pm \n\n\n\n\n    \n        Exhibition Publication    \n\n\n\nI’m in This World\, Doing is a body of work that explores the hidden systems of labour that quietly sustain our daily lives. Through mixed-media works and installations\, Vivian Smith examines how unpaid care work\, domestic labour\, and affective labour remain economically invisible despite their essential role in supporting society. The exhibition draws attention to the intersection of the gift economy and capitalism\, embedding images of unpaid work into objects that hold greater market value than the labour they depict. In doing so\, Smith challenges viewers to reconsider how we assign worth\, productivity\, and compensation in contemporary life.Rooted in personal documentation\, the works feature photographs of the artist performing everyday tasks—cleaning\, cooking\, and caregiving—printed onto domestic textiles such as chiffon\, satin\, silk\, and linen\, then coated in beeswax. These materials reference both gendered expectations of care and the natural labour of worker bees. By transforming these images through hand-stitching\, quilting\, and sculptural installation\, Smith reveals how women’s labour connects intimate home spaces to global economic systems. The exhibition ultimately advocates for recognition and systemic change\, including the need for Universal Basic Income as a way to value essential work that remains unseen.Vivian Smith is an artist based in Mohkinstsis (Calgary)\, Alberta. She holds a Bachelor of Fine Arts with Distinction from the Alberta University of the Arts and has participated in numerous residencies\, including at the Kiyooka Ohe Arts Centre and the Similkameen Artist Residency. Her work has been supported by the Canada Council for the Arts and the Calgary Arts Development Authority\, and she has exhibited widely across Canada. Through her interdisciplinary practice\, Smith focuses on labour\, gender\, and economic systems\, creating work that encourages dialogue about how care\, value\, and community are interconnected. \n\n\n\n\n\nIn the Corners of the Eye\, 2024. \n\n\n\n\n\nA Place for Relaxation\, 2025.\n\n\n\n\n\nGlass Walls\, 2024.
URL:https://vernonpublicartgallery.com/event/im-in-this-world-doing
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260521T100000
DTEND;TZID=America/Vancouver:20260620T160000
DTSTAMP:20260613T152726
CREATED:20260512T200333Z
LAST-MODIFIED:20260527T190935Z
UID:10000250-1779357600-1781971200@vernonpublicartgallery.com
SUMMARY:Gathered
DESCRIPTION:SD#22 Indigenous Students\n\n\n\nCommunity GalleryMay 21 – June 20\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nGathered celebrates the creativity\, cultural knowledge\, and artistic expression of Indigenous students from across School District No. 22. Featuring works by students from elementary through secondary school\, the exhibition brings together a wide range of artistic approaches and materials\, reflecting the unique perspectives and lived experiences of each young artist.  \n\n\n\nRooted in both tradition and contemporary expression\, many of the works draw upon cultural teachings\, connections to land and community\, and personal narratives\, while also engaging with the realities of the present moment. Together\, these works speak to the importance of creativity as a space for storytelling\, learning\, and self-expression\, offering a vibrant reflection of the many voices and experiences within Indigenous youth communities today.  \n\n\n\nThe School District No. 22 teachers who support and encourage these students’ artistic practices play an essential role in making this exhibition possible\, and we extend our sincere gratitude for the care\, time\, and encouragement they continue to provide. Special thanks are also owed to Amiel Logan for his collaboration\, generosity\, and dedication in helping bring this exhibition together\, and for the care and joy he brought to every stage of the project.  \n\n\n\n\n\nTogether\, Sarah Pomeroy\n\n\n\n\n\n\n			\n				\n			\n		Four Food Chiefs\, Julieth Divinagracia\n\n\n\n\n\n\n			\n				\n			\n		Untitled\, Jessica Methot
URL:https://vernonpublicartgallery.com/event/gathered
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260529T080000
DTEND;TZID=America/Vancouver:20260729T170000
DTSTAMP:20260613T152726
CREATED:20260331T230829Z
LAST-MODIFIED:20260527T183148Z
UID:10000248-1780041600-1785344400@vernonpublicartgallery.com
SUMMARY:Fireline Kinship
DESCRIPTION:Taylor Baptiste\n\n\n\nCaroline Galbraith GalleryMay 29 – July 29\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nFireline Kinship is a multidisciplinary exhibition by Taylor Baptiste of the Osoyoos Indian Band and Syilx Okanagan Nation. Developed in response to intensifying climate realities in the Okanagan and the 2021 Nk’Mip wildfire\, the work examines the relationship between fire\, land stewardship\, and cultural continuity\, while reflecting on the processes of collective healing that follow environmental and community trauma. \n\n\n\nThe exhibition features a short film alongside sculptural regalia and sculptural works that engage fire as both a site of loss and a catalyst for renewal. Through material\, movement\, and image\, Baptiste reflects on kinship with the land\, the responsibilities carried within that relationship\, and the role of community in navigating loss\, resilience\, and renewal. \n\n\n\n\n\n\n			\n				\n			\n		Wildfire Regalia I (film still)\n\n\n\n\n\n\n			\n				\n			\n		Flicker of Memory\n\n\n\n\n\n\n			\n				\n			\n		Extinguisher
URL:https://vernonpublicartgallery.com/event/fireline-kinship
CATEGORIES:2026,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20260529T100000
DTEND;TZID=America/Vancouver:20260725T160000
DTSTAMP:20260613T152726
CREATED:20260331T225808Z
LAST-MODIFIED:20260527T183409Z
UID:10000247-1780048800-1784995200@vernonpublicartgallery.com
SUMMARY:Emergence
DESCRIPTION:Averi Boerboom\, Trinity Davis\, Rain Doody\, Carly Johnson\, Clifford Jasper Ozee\, Stevie Poling\, and Maya Taki\n\n\n\nTopham Brown GalleryMay 29 – July 25\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nFor over two decades\, the Vernon Public Art Gallery’s annual Emergence exhibition has been developed in close collaboration with the University of British Columbia Okanagan\, offering a first professional platform for a selection of graduating BFA and BMS students. More than a showcase\, Emergence has come to function as a kind of barometer—an early signal of the material\, conceptual\, and aesthetic directions shaping the next wave of contemporary practice. \n\n\n\nThe 2026 exhibition features work by Averi Boerboom\, Trinity Davis\, Rain Doody\, Carly Johnson\, Clifford Jasper Ozee\, Stevie Poling\, and Maya Taki—seven artists whose practices reflect both the diversity and urgency of this year’s graduating cohort. \n\n\n\nThis year’s work is notably ambitious. Across disciplines\, it is large\, loud\, and unapologetically present. Installation-based practices dominate\, with artists constructing immersive environments that invite viewers not just to observe\, but to enter—worlds built through accumulation\, texture\, and spatial awareness. Sculpture and painting also play a significant role\, foregrounding process and the visible trace of the artist’s hand. In a moment increasingly defined by the rise of artificial intelligence and digital production\, these works insist on labour\, material presence\, and embodied making. \n\n\n\nWhat emerges across these practices is a shared investment in the deeply personal. Whether grappling with memory and loss\, the fading textures of childhood\, queer identity\, inherited histories\, or the instability of perception\, each artist engages with what it means to be human in a rapidly shifting cultural landscape. From Boerboom’s tender meditations on memory and Alzheimer’s\, to Doody’s embrace of the grotesque and imperfect\, to Taki’s negotiation of mixed heritage through material and form\, the works collectively resist detachment in favour of vulnerability and specificity. \n\n\n\nIf Emergence offers a glimpse of what is to come\, then the future of contemporary art is not quiet or minimal—it is expansive\, materially grounded\, and insistently human. \n\n\n\n\n\n\n\nAveri Boerboom\n\n\n\nAveri Boerboom’s printmaking and installation practice centers on memory and nostalgia\, rooted in vivid childhood experiences with her grandmother. As a child\, she would explore her grandmother’s closet\, draping scarves around her shoulders\, layering jewelry over her small hands\, and stepping into oversized heels. These sensory memories\, filled with scent\, texture\, and presence\, formed a deep connection that later shaped her understanding of her grandmother’s journey with Alzheimer’s disease. \n\n\n\nBoerboom transforms personal recollections into layered prints and installations using lace\, ribbon\, buttons\, and clothing patterns printed on evolon and Stonehenge paper. Through material cutouts and carefully composed arrangements\, she echoes the structure and intimacy of her grandmother’s wardrobe. Neutral tones and delicate fabrics carry sentimental weight\, evoking both closeness and absence. \n\n\n\nBy engaging with the intersection of remembering and forgetting\, Boerboom’s work preserves fleeting moments\, inviting viewers to reflect on the fragments of memory that endure over time. \n\n\n\n\n\n\n			\n				\n			\n		Frilly Tank\, 2026\n\n\n\n\n\n\n			\n				\n			\n		Alice (Detail)\, 2026\n\n\n\n\n\n\n\n\n\nTrinity Davis\n\n\n\nTrinity’s work explores themes of childlike wonder and unrestrained creativity-qualities that shaped her earliest memories. As a child\, imagination came naturally as she built worlds with toys and immersed herself in the colour and charm of illustrated books. Over time\, however\, that sense of wonder faded as adulthood introduced responsibilities\, expectations\, and the pressures of sustaining a future. Celebrations once filled with excitement\, such as holidays and birthdays\, gradually became quieter\, often overshadowed by everyday concerns. \n\n\n\nThrough her printmaking practice\, Trinity confronts this loss and works to restore a sense of awe. Her prints are multilayered collaged compositions that distort\, reassemble\, and enlarge imagery drawn from childhood books and illustrations. Small images are amplified into monumental forms\, transforming familiar visuals into immersive experiences. \n\n\n\nBy enlarging halftones\, dots\, and printed textures\, Trinity reveals the structure behind these imagined worlds\, inviting viewers to reconnect with nostalgia\, curiosity\, and wonder. \n\n\n\n\n\n\n			\n				\n			\n		A Page Out of My Book (Detail)\, 2026\n\n\n\n\n\n\n			\n				\n			\n		A Page Out of My Book (Detail)\, 2026\n\n\n\n\n\n\n			\n				\n			\n		A Page Out of My Book (Detail)\, 2026\n\n\n\n\n\nRain Doody\n\n\n\nRain Doody is a multimedia artist working mainly through sculpture and caricature. In his work\, he experiments through usage of raw vs polished materials\, and toes the line of the jank. He draws inspiration from acne scars\, mole hairs\, folds and shades of skin\, and the muppets. \n\n\n\n“My vision is inter dimensional beings have noticed the ridiculosity in humans self-inflicted suppression. Why must everything be tiny\, smooth\, and minimalist? Humans are losing their most interesting parts; so they’ve infiltrated this plane to shock us back into our factory settings.” \n\n\n\nGrowing up queer in the 2000s\, Rain explores the effect of social media on self expression and perception. He embraces the strange and unusual through texture and colour\, and creates ‘perfectly janky’ works to reflect the unique delight in imperfection. \n\n\n\n\n\n\n			\n				\n			\n		Coke Float (Left)\, 2025\, and Don’t taste the batter (Right)\, 2026.\n\n\n\n\n\n\n			\n				\n			\n		Coke Float (Detail)\, 2025\n\n\n\n\n\nCarly Johnson\n\n\n\nCarly Johnson’s body of work stems from an interest in the theme of the contrast of lighting in night scenes\, and a fear of what lurks in the dark; physically and metaphorically. She decided to reach out of her comfort zone to create a body of work that specifically incorporates dark lighting and themes of discomfort\, encompassing the uncertainty of the unknown through oil paints on canvas. The locations painted are all places that hold meaning to her\, whether it is simply close to her childhood home\, or local places that hold a deeper\, significant impact. \n\n\n\nCarly works by capturing her own reference images\, typically shot around the Rutland community. Having a personal connection to the photo and painting itself helps to establish a sense of nostalgia for her. She hopes to explore ways in which she can further the narrative of something potentially lurking\, and a feeling of mystery in her paintings. \n\n\n\n\n\n\n			\n				\n			\n		Take Me Out to the Ball Game\, 2026\n\n\n\n\n\n\n			\n				\n			\n		Another Bridge to Cross\, 2026\n\n\n\n\n\nClifford Jasper Ozee\n\n\n\nClifford Ozee is a sculptor whose work centers on the fabrication and transformation of steel. His practice is built through hands on experimentation and a close engagement with the physical behavior of the material. Using welding\, plasma-cutting\, and hydroforming\, he pushes steel beyond what can be shaped by hand alone\, learning its limits through repeated trials of pressure\, heat\, and force. \n\n\n\nOzee’s current work focuses on hydroformed ampersands\, the \n\n\n\n“and” symbol. Each form is carefully fabricated and finished through mirror polished stainless steel and powder coating in bright primary colors. The work emphasizes precision and craftsmanship while acknowledging the subtle distortions created by pressure. \n\n\n\nThrough disciplined fabrication and repetition\, Ozee develops forms that reveal both the strength and vulnerability of steel. Each sculpture reflects a commitment to process\, technical skill\, and refinement within a demanding material. \n\n\n\n\n\n\n			\n				\n			\n		M2\, 2026\n\n\n\n\n\n\n			\n				\n			\n		M1 (Detail)\, 2026\n\n\n\n\n\n\n			\n				\n			\n		Installation image of M1\, M2\, and S1 (Detail)\, 2026\n\n\n\n\n\nStevie Poling\n\n\n\nStevie Poling is a queer multimedia artist working primarily with fibre and textile materials. She was born in the Kootenays and grew up in Melbourne\, Australia. Stevie practices textile manipulation through an interdisciplinary feminist and queer lens\, viewing the medium as an “inherently\, unavoidably female and/or queer practice”. The connections made within sewing communities is manifested in the way fibres are woven and tangled together to form a garment or artwork. \n\n\n\nShe is inspired by her Mum\, Samantha\, who is a quietly counter-cultural feminist\, an antique collector\, and photographic artist. Samantha’s love of history and oddities found its way inherently interwoven into Stevie’s practice\, visualised in her maximalist exploration of themes of domesticity and patriarchal expectations and\, further\, the Abject (Julia Kristeva) and embodiment. Stevie’s work aims to evoke a playtul sense of scale and gesture while counterbalancing its aesthetic with dichotomous feminist and queer discourse. \n\n\n\n\n\n\n			\n				\n			\n		And an even better house plant (Installation)\, 2026\n\n\n\n\n\n\n			\n				\n			\n		And an even better house plant (Installation)\, 2026\n\n\n\n\n\nMaya Taki\n\n\n\nMaya Taki is a sculptor and painter who works primarily in oil paint and steel. Her work explores iconic Japanese imagery popular in tattooing. \n\n\n\nWorking with designs that she creates digitally\, she transforms them to large steel cutouts with several layers that she uses as painting supports. Blending sculptural language with painting\, she works across mediums to merge her interests together. A recurring theme in Maya’s work is identity\, and the tensions that come along with being from a mixed heritage. Combining traditional styles and ways of making art with a contemporary lens has been a way for her to learn more about her ancestry while also including a perspective as someone who grew up and currently lives in Canada. \n\n\n\n\n\n\n\n\n			\n				\n			\n		Balancing Act (Sensu)\, 2026\n\n\n\n\n\n\n			\n				\n			\n		Reading Between the Lines\, 2026
URL:https://vernonpublicartgallery.com/event/emergence-2026
CATEGORIES:2026,Exhibitions
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DTSTART;TZID=America/Vancouver:20260529T100000
DTEND;TZID=America/Vancouver:20260729T170000
DTSTAMP:20260613T152726
CREATED:20260331T232201Z
LAST-MODIFIED:20260512T230446Z
UID:10000249-1780048800-1785344400@vernonpublicartgallery.com
SUMMARY:Through Our Eyes
DESCRIPTION:Teen Junction\n\n\n\nUp-front GalleryMay 29 – July 29\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nhrough Our Eyes is an exhibition of artwork by youth from BGC Okanagan’s Teen Junction Youth Program. For years\, Teen Junction and the Vernon Public Art Gallery have collaborated to create space for the voices and experiences of Vernon’s youth to be shared through art. \n\n\n\nTeen Junction is a dynamic\, low-barrier environment where youth are welcomed\, supported\, and encouraged to build confidence\, develop relationships\, and explore creative expression. The works presented in Through Our Eyes reflect the importance of these spaces\, demonstrating how art can become a powerful tool for self-expression\, communication\, and connection. \n\n\n\nThis year’s exhibition explores the contrast between how youth feel they are perceived by society and how they truly see themselves. Through drawing\, painting\, mixed media\, and personal storytelling\, the artists challenge assumptions\, share lived experiences\, and reclaim their own narratives with honesty and vulnerability. Together\, the works invite viewers to look beyond stereotypes and encounter these young people through a lens of resilience\, individuality\, and humanity. \n\n\n\nSpecial thanks to the staff and mentors at BGC Okanagan for the care\, encouragement\, and support they provide to youth in our community\, and to Sara Isaac\, whose dedication and leadership continue to guide and shape this exhibition each year. 
URL:https://vernonpublicartgallery.com/event/throughoureyes-2026
CATEGORIES:2026,Exhibitions
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DTSTART;TZID=America/Vancouver:20260626T100000
DTEND;TZID=America/Vancouver:20260711T160000
DTSTAMP:20260613T152726
CREATED:20260331T234308Z
LAST-MODIFIED:20260424T184356Z
UID:10000251-1782468000-1783785600@vernonpublicartgallery.com
SUMMARY:MEA Auction Preview
DESCRIPTION:Community GalleryJune 25 – July 11\, 2026 \n\n\n\nOpening Reception: June 25 from 6 to 8 pm \n\n\n\nThe MEA Auction Preview offers a first look at the full collection of artworks generously donated by local and regional artists in support of the Vernon Public Art Gallery’s annual MEA fundraising auction. \n\n\n\nInstalled in the gallery throughout the month leading up to the event\, this exhibition invites visitors to experience the artworks in person\, explore a wide range of creative practices\, and learn more about the participating artists. Whether you’re a seasoned collector or a first-time bidder\, the preview provides the perfect opportunity to plan your bids in advance and support the arts in your community. \n\n\n\nDon’t miss this chance to discover new artists\, connect with the gallery\, and help ensure the continued success of one of VPAG’s most important fundraising events of the year!
URL:https://vernonpublicartgallery.com/event/mea-auction-preview
CATEGORIES:2026,Exhibitions
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DTSTART;TZID=America/Vancouver:20260807T100000
DTEND;TZID=America/Vancouver:20261010T160000
DTSTAMP:20260613T152726
CREATED:20260609T182250Z
LAST-MODIFIED:20260609T182436Z
UID:10000258-1786096800-1791648000@vernonpublicartgallery.com
SUMMARY:Opera Obscura
DESCRIPTION:Mary Kavanagh\n\n\n\nCaroline Galbraith GalleryAugust 7 – October 10\, 2026 \n\n\n\nOpera Obscura is a large-scale installation by Canadian artist Mary Kavanagh. For nearly three decades\, Kavanagh has examined archives\, memory\, and sites where knowledge is classified\, withheld\, or at risk of disappearing — through an art practice consistently attentive to material evidence linked to histories and territories. In this new work\, she turns her attention to one of the defining institutions of civic life: the library. At the exhibition’s centre are approximately 2\,000 deaccessioned books sourced from the annual collection review of the University of Lethbridge Library. Spanning disciplines\, languages\, and eras\, each volume has been individually hand-inked to black and arranged in a dense gridded field. Serial and austere\, the installation evokes both catalogue and cenotaph. Gilded titles\, embossed surfaces\, library markings\, and traces of use remain partially visible beneath layers of ink — a tension between erasure and preservation extended through a companion series of black-on-black photographs\, where individual volumes are isolated\, lit\, and slowly disclosed.The project investigates the library as a site of cultural negotiation — an institution through which knowledge is ordered\, preserved\, overwritten\, and lost. Blackening becomes a form of witnessing — of sitting with what Walter Benjamin describes as the collector’s bind: that books do not belong to us so much as we belong to them\, inhabited by what we have gathered.¹ Drawing on Hannah Arendt’s argument that attention is itself a civic act\, Opera Obscura gives loss a body and registers its weight.² The work reflects on the incremental transformations reshaping public institutions — technological change\, economic pressure\, shifting political priorities — that quietly alter the conditions through which knowledge circulates and endures. Opera — from the Latin opus: work\, labour\, effort; its plural form suggesting not a single work but a body of works\, the cumulative product of sustained human toil. Obscura — from obscurus: dark\, hidden\, withdrawn — names both a material condition and a state of disappearance. The title carries an echo of camera obscura\, where darkness becomes the condition of seeing — a logic extended through the photographic series\, where blackened surfaces yield rather than withhold.  Monumental in scale and elegiac in tone\, the project registers the slow erosion of the material record\, the institutions entrusted with its keeping\, and the accelerating political forces that now threaten both. \n\n\n\n\n\n\n\n¹ Walter Benjamin\, “Unpacking My Library\,” in Illuminations\, trans. Harry Zohn (New York: Schocken Books\, 1969)\, 59–67. Originally published 1931.² Hannah Arendt\, Men in Dark Times (New York: Harcourt\, Brace & World\, 1968). \n\n\n\n\n\n\n			\n				\n			\n		Black Book Study 01a (covers) | Agrippa von Nettesheim\, Heinrich Cornelius. Opera. 2 vols. Facsimile reprint of Lyon: per Beringos fratres\, [c. 1580]. With an introduction by Richard H. Popkin. Hildesheim and New York: Georg Olms Verlag\, 1970. Deaccessioned from the University of Lethbridge Library\, 2025.\n\n\n\n\n\n\n			\n				\n			\n		Black Book Study 01b (interior pages fan) | Agrippa von Nettesheim\, Heinrich Cornelius. Opera. 2 vols. Facsimile reprint of Lyon: per Beringos fratres\, [c. 1580]. With an introduction by Richard H. Popkin. Hildesheim and New York: Georg Olms Verlag\, 1970. Deaccessioned from the University of Lethbridge Library\, 2025.
URL:https://vernonpublicartgallery.com/event/opera-obscura
CATEGORIES:2026,Exhibitions
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