Boat without a Boat features brand new work from Nelson-based painter Deborah Thompson. In the exhibition, elaborate cut paper drawings form narrative constellations which become the basis of stop motion animation works.

Treelines assembles a series of Gwen MacGregor’s photographs and videos with a forest of crocheted trees—altering perspectives, toying with memory, loss, and environmental degradation.

Paul Walde explores the unexpected interconnections between landscape, identity, and technology through interdisciplinary performance works staged in the natural world. Weather Events brings together two video installations that draw connections between how we perceive landscapes and interact with our world.

Currents is a large-scale installation that depicts our complex and often conflicted relationship with watersheds within the context of a changing climate. Comprising a grid of 150 individual prints that form a composite image, Kelsey Stephenson’s work focuses on the human impacts to water systems through visual explorations of the ice, snow, and moving water found in glaciers, rivers, and lakes.

Brent Bukowski works primarily with reclaimed materials, reanimating discards into compositions that explore environmental, historical, and cultural themes, particularly their relationship with climate change.

Sandra Sawatzky is an artist on a mission, one tiny stitch at a time. Through her work she is transforming our perception of embroidery as an art form while drawing attention to the larger social, political, and environmental issues that affect us all.

The images feel like ethereal encounters. Some appear like spirits or ghosts while others feel familiar yet unknown. Many characters exist as singular portraits living within a greater constellation of beings that transfer feelings into the surrounding space. These feelings create an emotional tapestry connecting the artwork to the viewer, the viewer to the space, and viewers to each other. Though the characters appear in physical form, it is less about the portraits and more about what is contained within them. Katie Green's exhibition will be in the Central Gallery from May 6th to August 12th.

Reid says that he paints from rather than on. His subject since the 1950s has included the figure. A transformative eros of man and/or woman combined with landscape came later but that is what he paints from. He says his arm knows what to paint more than his head does. He states in his memoir that he wants his work to look “unlaboured, clear, confident, controlled,”[2] and tries always for urgency and fluidity in the execution.

Since 1994, Tsuneko’s practice has been based around her home in Silverton, BC. While it has been deeply influenced by the local ecology and a connection to the landscape, themes of displacement, belonging, and interconnectedness are woven throughout. Known for her vibrant paintings, performance pieces, set design, and choreography, this exhibition features a selection of Tsuneko’s work across all media. Tsuneko Kokubo's exhibition will be in the Reid Gallery from May 6th to August 12th.

Monument 83 is the name given to a peak located along the international border of Canada and the United States. Situated in a subalpine clearing of E.C. Manning Park in southwestern British Columbia, Monument 83 is notable for its location as a fire lookout site.

Offering an intimate glimpse into the nuanced identities of Mexican migrant workers that work in the farms of Interior BC, Rocio Graham shares her own experience of uprooting herself and re-negotiating her identity. Growing roots from shared dreams presents work that is deeply rooted in ritual ceremony, performance, and relationality.

Work in Progress presents a selection of previously un-exhibited works from the Gallery 2 Permanent Collection. The move of the collection into new lateral art racks has revealed the full breadth and depth of the collection – from very large paintings to very small prints and everything in between. See work by William Featherston, Joe Fafard, Michael Morris, Nancy Boyd, and more.

Illuminated Collapse merges figure and ground to highlight human connection to the surrounding world. In these sculptures, unsettling dioramic scenes unfold on the surface of circular, wooden plinths. Anthropomorphic landscapes are engaged in dramatic acts of self-consumption and destruction, projecting a metaphorical End of Times narrative. Mirroring our own world through their miniature elements, the works reflect on contemporary consumption, industrial development, and inherent environmental degradation.

Monique Martin creates gallery installations involving thousands of intricately screen-printed and hand cut paper objects. Meticulously detailed individual pieces merge into a larger whole; the sum is greater than the individual parts. In this exhibition, thousands of paper dandelions, entitled Context is Everything, coexist with Annus Mirabilis, a newer body of work depicting paper butterflies. There is no distinct line between the two works, the butterflies spill off of the walls and throughout the field of flowers across the gallery floor.

Drawing on a career in carpentry, By This Means resituates the building trades within the constructs of gender, identity, and art history. Rachel Yoder takes the tools and her daily experience of construction to make paintings and prints, incorporating individual components, accumulation, structure, repetition, creation of space, addition, and layering into her work.

The dams and the hydroelectric power generators of the Kootenay river provide immense amounts of electricity and royalties to surrounding communities while protecting from flooding and drought. They continually flow, burst, store, block, channel, and power existing and speculative realities.

Cling considers satellite dishes installed on buildings for their formal similarities to barnacles growing on a rock; as barnacles encrust a rock, satellites encrust a building. Satellite dishes are notable for their purpose as sites of transmission between space satellites, personal electronic devices, and the sublime realm of the digital world; barnacles for their ability to colonize and grow on any available surface.

Briana Palmer gathers images, objects, and ideas from the everyday, exploring the intersections between the perception, experience, and social ideologies of her own cultural practices and upbringing. Traversing the line, with no fixed point unsettles our assumptions of place and belonging. The main component of the installation is the “Iron horse” – a railway system that runs through an installation of ephemera, nostalgic paraphernalia, and cultural artifacts.

Fern Helfand creates an observation point for viewers to contemplate how our environment, our society, and our very identity is being modified by resource use. Her work records the way we clear the land, build our homes, choose our materials, and shelter ourselves. It pushes the boundaries of photography beyond straight documentary images by merging multiple photographs and videos into composite creations.

Genevieve Robertson’s drawings involve extensive physical exploration and are materially linked to specific regions and their land and resource politics. This body of drawings uses pigments made with found carbon-based materials—coal, graphite, ash and wildfire-derived charcoal—collected in the East and West Kootenays where coal and graphite mining take place and climate-induced wildfires are increasing in severity.