Charlene Vickers

Encompassing a wide range of media — including painting, sculpture, performance and installation — the practice of Charlene Vickers operates as a visionary expression of what the artist terms *embodied territory*. Giving vital form to the lands, histories and relations of her birthplace in Wauzhushk Onigum as they are felt, imagined and carried across distance, Vickers’ works lucidly manifest ancestral connections, cultural reclamations and her territorial presence as Anishinaabe Kwe, while responding formally to the Coast Salish land she has resided upon for the past thirty years. 

In *Ancestor Gesture*, Vickers brings together a selection of new and recent works covering more than ten years of output. From rhythmic abstractions inspired by the quillwork embroidery of her forebears, to a monumental cedar bone bead rendered as a teaching, to a suite of shimmering line drawings that index energy, spirit and breath, the exhibition highlights Vickers’ engagement with a broad spectrum of concerns, spanning meditations on power, protection, kinship, and healing. Presented together for the first time, the works on view reflect the intimacy and insistence of Vickers’ practice, speaking expansively across time, territory and tradition.

Work at Yaletown-Roundhouse Station is installed from September 17, 2021 to March 20, 2022. It is presented in partnership with the Canada Line Public Art Program, InTransit BC.

### Biography

Charlene Vickers is an Anishinaabe artist based in Vancouver. Her painting, sculpture and performance works explore memory, healing and embodied connections to ancestral lands. She is the recipient of the 2018 VIVA Award. Recent exhibitions include a co-presentation with Lawrence Paul Yuxweluptun Lets’lo:tseltun, Macaulay & Co. Fine Art (2021); *Rain Shadow*, Nanaimo Art Gallery (2021); *Where Do We Go From Here?*, Vancouver Art Gallery (2020); Biennale nationale de sculpture Contemporaine, Quebec (2020); *An Assembly of Shapes*, Oakville Galleries (2018); *Speaking with Hands and Territories*, SFU Galleries (2018); and *Vancouver Special: Ambivalent Pleasures*, Vancouver Art Gallery (2016). International group exhibitions include *the map is not the territory*, Portland Art Museum (2019); *Connective Tissue: New Approaches in Contemporary Fibre Art*, MoCNA, Santa Fe (2017); *From The Belly of The Beast*, Grace Gallery, Brooklyn (2017); and *If We Never Met*, Pataka Art Museum, Porirua, New Zealand (2016). Vickers graduated from Emily Carr University of Art and Design (1994) and Simon Fraser University (Critical Studies of the Arts, 1998; MFA, 2013).




ProgramGuideFall2021.pdf

ExhibitionGuideCharleneVickers.pdf

A detail view of a watercolour painting by Charlene Vickers, a geometrically rendered zigzag pattern rendered in a vibrant palette of ochres, golds, greens and blues.

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This is an installation view of Charlene Vickers’ drawings. 15 framed drawings of dense vertical lines made with coloured markers hang in a grid on a white wall. 

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This is an installation view of Charlene Vickers’ solo exhibition. Across from the wall on which a series of drawings are mounted are two tall cylindrical sculptures wrapped in painted fabric.

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This is a close-up view of Charlene Vickers’ sculptures. Tall cylindrical objects are wrapped in fabric, which is painted blue. Some small objects including buttons are attached to the sculptures.

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A set of fifteen tall, thin sculptures are leaning against a gallery wall. Their bodies are made of braided grass wrapped in white cotton. Human hair emerges from the top of each sculpture.

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This is the side view of a set of Charlene Vickers’ wrapped sculptures leaning against a wall. The length of each sculpture varies. Human hair emerges from the top of each sculpture.

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This is an installation shot of Charlene Vickers’ solo exhibition. A large bead-shaped sculpture made of wood sits on the floor. Behind it, a series of spear-shaped sculptures lean against the wall. 

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Twelve tall spear-shaped sculptures carved out of cedar lean against the gallery wall. They are all shaped in the same size and left unpainted. They stand vertically as if to make a fence. 

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A large wood sculpture is installed in a gallery space. It is the shape of a house with a large window in the middle. A painting depicting the silhouette of a woman sits in the window.

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Ancestor Gesture

Faye HeavyShield

In a career spanning more than thirty years, artist Faye HeavyShield has developed a practice of profound influence, renowned as readily for its poetic use of form and material as its evocative embodiments of memory, community and place. A powerfully concise aesthetic vocabulary gives shape to HeavyShield’s work, one rooted in the topography and texture of her homeland in the foothills of Southern Alberta and her upbringing in the Kainai community. Whether drawing on the winds, grasses and rivers of the Northern Plains; staging scenes redolent of gathering or exchange; or exploring elemental geometries that signal continuities and connections, the objects, images and installations of HeavyShield’s work manifest as extensions of land, language and body. 

At the Contemporary Art Gallery, HeavyShield presents a pair of new works in sculpture and drawing, each a meditation on lineage and line. An unbound sculpture, ropelike in form, anchors the exhibition, accompanied by a series of gestural drawings that recall the shape of a memory. Bearing the hallmarks of HeavyShield’s practice—repetition, distillation and material humility—these works extend the artist’s career-long reflections on continuance, on that which connects and sustains.


### Biography

Faye HeavyShield is a member of the Blackfoot Confederacy from the Kainai (Blood) Nation in the foothills of Southern Alberta. She is a fluent speaker of the Blackfoot language and studied at the Alberta College of Art and Design in Calgary. HeavyShield has exhibited in solo and group exhibitions across Canada, including *Nations in Urban Landscapes*, Contemporary Art Gallery, Vancouver; *rock paper river*, Gallery Connexion, Fredericton; *Into the Garden of Angels*, The Power Plant, Toronto; and *blood*, Southern Alberta Art Gallery, Lethbridge. Her work is held in collections including the National Gallery of Canada, Ottawa; the McMichael Canadian Art Collection, Kleinburg; the Heard Museum, Phoenix; the Glenbow Museum, Calgary; and the MacKenzie Art Gallery, Regina.

ExhibitionGuideFayeHeavyShield.pdf

This is a close-up view of Faye HeavyShield’s beaded sculpture. It is a long unbounded string made of small red beads woven together. The smooth surface of each bead is reflecting the gallery light.

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A series of drawings and a ropelike sculpture are installed in a gallery space. The sculpture is placed on a large plinth. It is a red beaded cord forming a continuous line, maplike in shape.

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A ropelike sculpture is installed in a gallery space. The sculpture is placed on a large plinth. It is a red beaded cord forming a continuous line, maplike in shape.

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This is a close-up view of Faye HeavyShield’s beaded sculpture. It is a long unbound cord, which has been covered entirely in red beads. The surface of each bead reflects the gallery light.

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This is an installation shot of Faye HeavyShield’s drawings. Dozens of unframed drawings of various sizes and papers depict silhouettes of heads. They are hung closely to one another on a gallery wall.

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This is a close-up view of Faye HeavyShield’s drawings installed on a gallery wall. They were drawn with several different mediums, including markers and pens. They depict the shapes of human heads.

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New Work

Leon Polk Smith

The Contemporary Art Gallery presents the first solo exhibition in a public gallery in Canada by American artist Leon Polk Smith (1906-1996). Focusing on paintings and works on paper from the 1950s, the exhibition charts a critical moment in Smith’s artistic career in which the signature visual language of his work began to manifest, reflective both of prevalent trends of the time and an increasing engagement with the contexts of his upbringing and identity. 

Through almost forty works, the exhibition traces a period in which Smith initiated a move away from the Eurocentric impulses of his formative years to embrace and make plain connections to his rural upbringing in the American Southwest, his Indigenous heritage and his identity as a gay man. At times playful, Smith’s refraction of his background is evidenced throughout his work: in his distinctive palette, in his approach to titling, and in the frequent evocation of body, place and landscape, at times recalling shapes, colours and patterns he experienced in his life, family and surroundings. *Big Form, Big Space* provides a timely opportunity to re-evaluate Smith’s place within art history, looking beyond the strict appreciation of his place within hard-edge modernist abstraction to encompass broader considerations of context, time and identity. 

Guest curated by Nigel Prince

*Leon Polk Smith: Big Form, Big Space* is realized with generous support from the Leon Polk Smith Foundation and Lisson Gallery, London, New York and Shanghai. 

### Biography

Leon Polk Smith (1906–1996) holds a unique place in the long tradition of American geometric abstract painting. Born outside Chickasha in what would become the state of Oklahoma, to parents of mixed Cherokee and settler heritage, Smith grew up in a farming community among the Chickasaw and Choctaw nations. He graduated from East Central University in Ada, Oklahoma in 1934, before moving to New York City in 1936, where he attended Columbia University. He remained in New York for the rest of his life. He was a painter heralded for his lifelong commitment to simplified shapes, brilliant colours and minimal, intense compositions. Since his first solo exhibition in New York City in 1941, Smith has been the subject of numerous retrospectives, most recently *Leon Polk Smith: Hiding in Plain Sight*, organised by the Heard Museum, Phoenix, Arizona which presents his work alongside that of 19th and 20th-century Indigenous artists. His work is included in major institutional collections such as those of the Art Institute of Chicago; Brooklyn Museum; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; and Whitney Museum of American Art, New York.

ProgramGuideSummer2021-min.pdf

ExhibitionGuideLeonPolkSmith.pdf

Essay: “Leon Polk Smith: Big Form, Big Space,”  Nigel Prince

A painting by Leon Polk Smith. The work is a vibrant red, painted flatly all over. In the lower half of the image sits a large, light blue shape: two circles connected by a rectangular form.

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An overview shot of a gallery hung with the geometric paintings of Leon Polk Smith. There is a vitrine at the center of the room. Behind the vitrine sits a doorway looking into another gallery.

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Two paintings by Leon Polk Smith sit on either side of a corner in a gallery space. The paintings are made up of simple, bold shapes in colours such as orange, red, blue and black.

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Four framed paintings on paper by Leon Polk Smith sit on either side of a corner in a gallery space. The paintings depict shapes in red, blue, white and green.

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Eleven paintings by Leon Polk Smith sit on either side of a corner in a gallery space, with a vitrine at the center. Six framed paintings hang on the left and two circular paintings on the right.

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A vitrine sits at the center of a gallery space surrounded by walls displaying the paintings of Leon Polk Smith. A series of small colourful geometric paintings lay flat in the vitrine.

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Big Form, Big Space

Corbin Union

Corbin Union is a Vancouver- and Calgary-based artist collective that has gathered annually since 2012 in the deserted East Kootenay coal-mining town of Corbin, BC to create both individual and collaborative works. Under a conceptual framework of excavation and entombment, mirroring and refraction, the collective’s three core members — Miruna Dragan, Jason de Haan and Warren McLachlan — bring together a range of interwoven experimental object and image forms in _OSOSO_. 

Central to the exhibition is an expansive installation informed by the vernacular architecture of Corbin’s original townsite, its alpine graveyard and surrounding natural and industrial landscapes, particularly the now-abandoned Coal Mountain pit mine operation. This installation, with its suggestion of underground ossuaries, extraction sites and mausoleums, transforms the gallery into a labyrinthine space and offers the housing for a multitude of other standalone video, sound, cast paper, and sculptural works. In their insistence on multiplicity, the collective confounds viewers’ easy image consumption, offering instead a dark, askance glimpse into experiences of materials, site and space. _OSOSO_ extends the collective’s ongoing, place-based examination of violent and often hidden histories of resource extraction, environmental destruction and immigrant labour unrest; the folly of the settler paradigm; and the movement of matter and populations (both human and non) across geological time. 

Co-curated by Julia Lamare and Kimberly Phillips


The artists gratefully acknowledge the support of the Alberta Foundation for the Arts, Alberta University of the Arts, Calgary Arts Development, Canada Council for the Arts, and Denbigh Fine Arts.


### Biography 

Corbin Union (founded in 2012) is an artist collective comprised of core members Miruna Dragan, Jason de Haan and Warren McLachlan, working site-responsively to the ghost town of Corbin, BC on the unceded lands of the Sinixt, Ktunaxa, Secwepemc, and Syilx Nations. Past Corbin Union projects have been presented at Museo de la Ciudad de Querétaro (2019); Unit/Pitt, Vancouver (2016); Untitled Art Society, Calgary (2015); Bond House Projects, London, UK (2013); and Easts St. Arts, London, UK (2013). In 2021 Corbin Union will present a new iteration of *OSOSO* at Museo de Arte Contemporáneo de Querétaro (MACQ), accompanied by a monograph co-published by CAG and MACQ.

Miruna Dragan (Bucharest, 1975) is a multidisciplinary artist settled in Mohkinstsis/Calgary on traditional Blackfoot and Metis lands since 2009. Exhibition venues include u’s, Diamond Valley (2020); Living Art Museum, Reykjavík (2019); Museo de la Ciudad de Querétaro (2019); Blackwood Gallery at University of Toronto (2018); Nickle Galleries at University of Calgary (2017); Southern Alberta Art Gallery, Lethbridge (2016); Nanaimo Art Gallery (2015); G Gallery, Toronto (2014); Art Gallery of Alberta, Edmonton (2013); Esker Foundation, Calgary (2013); Museo de la Ciudad de Querétaro (2012); Kyber ICA, Halifax (2011); and Truck Contemporary Art, Calgary (2010). Dragan received an MFA from Rhode Island School of Design in 2001 and is Associate Professor at Alberta University of the Arts.

Jason de Haan (Edmonton, 1981) is a multidisciplinary artist settled in Mohkinstsis/Calgary on traditional Blackfoot and Metis lands. de Haan received an MFA from Bard College, NY in 2015. Exhibition venues include u’s, Diamond Valley (2020); Kling & Bang, Reykjavík (2019); Clint Roenisch Gallery, Toronto (2018); Esker Foundation, Calgary (2017); MASS MoCA, North Adams (2016); De Fabriek, Eindhoven (2016); Art Gallery of Alberta, Edmonton (2016); Kitchener-Waterloo Art Gallery (2014); Art Gallery of Nova Scotia, Halifax (2014); Oakville Galleries (2012); and Southern Alberta Art Gallery, Lethbridge (2012). de Haan’s work has been reviewed in Canadian Art Magazine, Art in America and Artforum, and in 2020 he was co-awarded the Sobey Art Award representing the Prairies and the North.

Warren McLachlan (Calgary, 1975) is a multidisciplinary artist settled on the unceded ancestral territories of the Squamish, Tsleil-Waututh and Musqueam Nations. McLachlan received an MA from Chelsea College of Art and Design, London, UK in 2007 and a BFA from Alberta College of Art and Design in 2001. Exhibition venues include Burnaby Art Gallery (2020); Museo de la Ciudad de Querétaro (2019); CSA Space, Vancouver (2018); Field Contemporary, Vancouver (2017); Unit/Pitt Façade, Vancouver (2016); The Tetley, Leeds, UK (2014); Supermarket Kulturhuset, Stockholm (2011); Cell Project Space, London, UK (2010); and Manton Lightbox, Tate Britain (2008). McLachlan curated exhibitions and events as a member of Dynamo Arts Association, Vancouver from 2012 – 2020.

ProgramGuideWinter2021-small.pdf

ExhibitionGuideCorbinUnion.pdf

Essay: “Corbin Union: OSOSO,” Kimberly Phillips

A set of stairs made of darkly stained wood leading to a platform. The railing of the stairs and platform are made of steel painted yellow. The paint is scratched and wearing away in some areas. 

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Large strips of brown and black tie dyed cloth hang throughout a gallery space. A sculpture made from a satellite dish sits in the middle, half of it is obscured by the cloth.

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A view of Corbin Union’s exhibition in a gallery space. Long strips of brown and black tie dyed cloth hang throughout the gallery space. A ramp sits in the center of the room and leads to a sculpture.

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Strips of dyed cloth and orange netting hang throughout the gallery space. To the right a ramp leads to a satellite dish sculpture. On The right side is a black plinth with small sculptures of bottles.

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A small narrow space with a monitor, mounted on a black wall. On the screen there is an abstract blue and white image. In front there is a box seat made out of dark brown stained wood. 

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Yellow stairs go up to a platform on the right side of the image. Under the stairs there is a monitor showing an abstract picture. On the left side of the image there is a tall sculpture. 

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Eight framed prints of collages hang on a wall on the right side of the image. On the left there is brown tie dyed fabric hanging from the ceiling. Suspended from the fabric are tool-like sculptures.

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 OSOSO

Nicole Kelly Westman

The practice of Nicole Kelly Westman is anchored in an ongoing concern with the conditions of image-making. Although Westman only occasionally uses cameras or produces anything akin to a photograph, her work deftly engages the tools, techniques and principles of photography to question the objectivity of the recorded moment. 

Light, in particular, is an essential collaborator for Westman. The glow of a sunbeam filtered through treetops; a city street at night, awash in the haze of sodium vapour lamps; the chromatic brilliance of a sunset: light for Westman is an opportunity to index the energies and intimacies that constitute any given moment and the ways in which it is perceived, documented and assigned meaning.

In *muddled mirage of memories escaping encapsulation*, Westman presents a series of three works across CAG’s façade windows, each of which nods to the ways memory is shaped, staged and recalled. Referencing the backdrop, the mirror, the gel, and the cucoloris — each used in the photographic process to produce “ideal” images — these works offer a patient counterpoint to the fixity of the standalone photograph, drawing our attention to the felt structures found in light and shadow, sentiments that often elude being captured, shot, or taken. 

### Biography 

Nicole Kelly Westman is a visual artist of Métis and Icelandic descent that recognizes with indebted gratitude the artists that came before her and strenuously forged space, the curators that place care at the fore of their labour, the communities that foster confidence in her practice, and the institutions and organizations that implement policies prefacing relations of trust. As an artist, she enjoys practices of listening, watching, hosting, poeticizing, foraging, and sharing.


ExhibitionGuideNicoleKellyWestman.pdf

A photograph showing diffuse orange light dappled with shadows against a reddish brown background. The warm light forms a loose rectangular shape with undefined borders in the centre of the image.

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Exterior image of the Contemporary Art Gallery displaying the work of Nicole Kelly Westman in the windows. The eight windows on the first floor are lit, highlighting various coloured backdrops.

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Exterior image of the Contemporary Art Gallery displaying the work of Nicole Kelly Westman in the windows. The eight windows on the first floor are lit, highlighting various coloured backdrops. 

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Exterior of the Contemporary Art Gallery displaying the work of Nicole Kelly Westman in the windows. The eight windows on the first floor are lit, highlighting various coloured backdrops.

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Detail shot of the exterior of the Contemporary Art Gallery displaying the work of Nicole Kelly Westman in a window. One window on the first floor is lit from the bottom displaying a red backdrop.

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muddled mirage of memories escaping encapsulation

Christine Howard Sandoval

In a meditation on land, language and architecture, Vancouver-based Obispeño Chumash and Hispanic artist Christine Howard Sandoval re-considers the insidious meaning-making power of the archive in her solo exhibition *A wall is a shadow on the land*. Through the use of adobe, a desert building material made from clay, sand and soil and deeply connected to her own family’s histories and practices, Howard Sandoval considers how land is and has been inhabited, the stories embedded in it and the potential futures it holds.

Howard Sandoval reconfigures the typology of Spanish mission architecture in a series of new adobe sculptures and large-scale drawings. Brought together with archival documents and the artist’s own fourth-grade school report on the California missions, she works to dislodge the deep-rooted colonial fictions that narrate the histories of her ancestral homeland in Alta California. *A wall is a shadow on the land* points to the ways in which narratives of colonial erasure are rehearsed within the public school system, and how the ongoing physical presence of mission sites on unceded Indigenous land in the western US are markers of the systemic proliferation of the imperial project and its persistent conditions today.

Co-curated by Julia Lamare and Kimberly Phillips

This exhibition is generously supported by the Audain Foundation.

Christine Howard Sandoval’s *Archival — for Rosario Cooper and my 10 year old self* is installed offsite at Yaletown-Roundhouse Station from January 22 – August 22, 2021. It is presented in partnership with Capture Photography Festival and the Canada Line Public Art Program, InTransit BC.


### Biography 

Christine Howard Sandoval is an interdisciplinary artist of Obispeño Chumash and Hispanic ancestry. Her work challenges the boundaries of representation, access and habitation through the use of performance, video and sculpture. Howard Sandoval makes work about contested places, such as the historic Native and Hispanic waterways of northern New Mexico; the Gowanus Canal, a Superfund site in New York; and an interfacing suburban-wildland in Colorado. Howard Sandoval has exhibited nationally and internationally at The Museum of Capitalism (Oakland, CA); Designtransfer, Universität der Künste Berlin (Berlin, Germany); El Museo Del Barrio (Bronx, NY); and Socrates Sculpture Park (Queens, NY). Her first solo museum exhibition debuted at The Colorado Springs Fine Art Center in May 2019, during which time she was the Mellon Artist in Residence at Colorado College. Sandoval has also been awarded residencies at the Santa Fe Art Institute, Triangle Arts, and The Vermont Studio Center. She holds a BFA from Pratt Institute (NY) and an MFA from Parsons The New School for Design (NY). She is currently Assistant Professor of Interdisciplinary Art at Emily Carr University (BC).


ProgramGuideSummer2021_CHS_YRHS.pdf

ExhibitionGuideChristineHowardSandoval.pdf

Essay: "CHRISTINE HOWARD SANDOVAL: A wall is a shadow on the land," Julia Lamare and Kimberly Phillips

A mound-like sculpture made from layers of adobe mud and strips of tape. A postcard with an image of a figure dressed in a religious habit is wedged into the mound, leaving only the torso visible.

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Three large scale drawings made of adobe mud and paper are suspended against the corner walls of a gallery space. In the middle sits a sculpture consisting of two mound-like forms on tripod stands.

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Three large scale drawings are suspended against the two sides of the corner wall of a gallery space. The drawings of architectural forms are made with striations of brown adobe mud on white paper. 

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One large scale drawing is suspended against the wall of a gallery space. The drawing of an architectural form is made with striations of brown adobe mud on white paper. 

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A sculpture in a gallery space. The sculpture consists of two moud-like forms made of brown adobe mud and strips of tape, each sitting atop a metal, tripod-like form.

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An exterior view of a train station displaying Sandoval’s work printed in vinyl. The work includes a collage of scanned archival documents on one side of the station and scanned drawings on the other. 

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An exterior view of a train station displaying Sandoval’s work printed in vinyl. The work depicts an illustration of a Fransiscan friar on the left and on the right an enlarged drawing of a doorway. 

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An exterior view of a train station displaying Sandoval’s work on the glass facade printed in vinyl. The work depicts a collage of scanned and enlarged archival documents, including written notes. 