Introducing this year’s Art Apprenticeship Network participants
We are pleased to announce the 2023 Art Apprenticeship Network program participants. Developed to build and strengthen the local art ecosystem through a part-time apprenticeship model, the program launched in 2020 to create opportunities for paid work, social connection, and experience for emerging practitioners while providing hands-on support for cultural production. This program is brought to you by the RBC Emerging Artists Project.
From May to December 2023, senior and graduating Emily Carr students will be working side by side with curators, artists and art administrators in the Lower Mainland. This year’s mentors are Allison Hrabluik, Annie Briard, Cathy Busby, Emily Hermant, Germaine Koh, Glenn Lewis, Hazel Meyer, Holly Schmidt, Julie Andreyev, Kay Slater (Grunt Gallery), Landon Mackenzie, Lindsay McIntyre, Ruth Beer, Scott Massey, and Sylvan Hamburger.
Get to know the mentor – apprentice teams below.
2023 Art Apprenticeship Network Teams
Allison Hrabluik comes to filmmaking from the visual arts, where she has worked as experimental filmmaker for the past twenty years, exhibiting in solo and group exhibitions internationally. Her work includes video, animation, drawing and installation, often to humorous or absurdist ends. With a recent focus on collaboration with actors and musicians, Hrabluik’s work has revealed characters through various narrative processes: so-called documentary objectivity, the messy subjectivity of first-person narration, allegorical third-person perspective, and the generative ambiguity of abstraction. Allison attended The Alberta College of Art & Design and the Glasgow School of Art, and is a laureate of the two-year HISK residency in Ghent, Belgium. She teaches as a non-regular faculty member at Emily Carr University of Art and Design.
Maya Patrich is an Argentinian-Canadian multi-disciplinary artist and currently resides in Musqueam, Skxwú7mesh, Tsleil-Waututh lands AKA “Vancouver”. They recently earned their Bachelor of Media Arts while studying 2D + Experimental Animation at Emily Carr University of Art + Design, where they were awarded an entrance scholarship. Primarily focusing on animation, illustration, and performing, their work specializes in visual storytelling that explores all that is strange, whimsical, and dark while examining the absurdity and loneliness found within the frameworks of everyday existence in hopes of bringing people together. Their practice is flexible while remaining conceptually grounded in their experiences and identity.
Annie Briard is a Canadian visual art and media artist whose work challenges how we make sense of the world through visual perception. Creating lens-based and light-focused works, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism. Her moving images, media installations, expanded and print photography works have been presented in numerous solo exhibitions, including “Within the Eclipse” at Burrard Arts Foundation (Vancouver), “Second Sight” at AC Institute (New York), “Paracosmic Sun” at Monica Reyes Gallery (Vancouver), “Sight Shifting” at Joyce Yahouda Gallery (Montréal), as well as group shows, festivals and fairs internationally, including at the Vancouver Art Gallery, Art Mûr (Montréal), Three Shadows Photography Centre (Beijing), the Lincoln Film Centre New York, Matadero Madrid, the Switzerland Architecture Museum, among many others. Recently, she presented large-scale public art projects for a number of commissions in Canada. Sourcing inspiration from the affectation of new and/or altered sights, she regularly undertakes art residencies, which have included working in New York, Los Angeles, Spain, Iceland, as well as long-haul hikes across the North American backcountry. Annie Briard’s work is supported by the Canada Council for the Arts and the British Columbia Arts Council. Briard holds a BFA from Concordia University and an MFA from Emily Carr University of Art + Design, where she currently teaches. In conjunction with her practice, she occasionally curates exhibitions and public programs in relation to her research interests.
Maria Michopulu is a Vancouver based artist, photographer and graphic designer born and raised in Prague, Czech Republic. She is currently completing her fine arts degree at Emily Carr University of Art and Design majoring in photography. She is interested in creating conceptual art through observation of the known and the unknown, making imagery with archival, found or created materials. In the past she worked for multiple cultural and music festivals (Mladí Ladí Jazz, Praha Žije Hudbou, Khamoro Festival, Student Fest and more) back home as a graphic designer, creator and production assistant.
Cathy Busby is an artist who was shaped by growing up in Mississauga in the 1960s and 70s and by her Scottish/English/Protestant heritage. Her parents and grandparents were life-long social justice advocates. She moved to the Yukon as a teenager to be part of an alternative school and community. She felt at home working for women’s equality and other justice issues and found an outlet for this at the Nova Scotia College of Art and Design (BFA 1984). Since then, she’s been exhibiting her work (installation, printed matter, performance) nationally and internationally including in New York; Beijing, Melbourne and Berlin. She is also a seasoned gallery / museum worker. She was an assistant and then Director of the Anna Leonowens Gallery, Nova Scotia College of Art and Design (NSCAD), 1983-88; an innovator and educator at the National Gallery of Canada 1998-2002 and the first Head of Education at the Ottawa Art Gallery 2002-04. She holds an MA and PhD in Communication from Concordia University. She was a Fulbright Scholar at New York University; and had a Contemporary Art Fellowship at the National Gallery of Canada (1997). She taught in the Visual Arts at UBC until 2019. From 2012-2018, life-partners, Kennedy and Busby, taught collaboratively at ECUAD and then at UBC.
Damarra Vogt (b. 2001) is a multidisciplinary artist, and a recent graduate of the BFA program at Emily Carr. Through sculpture and paint techniques, she placed an emphasis on figure, balance, and stimulating color palettes. Creating shared intimacies, she uses vulnerability in her pieces to initiate a space for reflection and dialogue regarding femininity, identity, sexism, mental stability, and productivity. Fashion is also closely correlated to her practice, used to deliver delicately designed bold statements. Damarra continues to reside in Vancouver, working in a collaborative studio space at James Black Gallery on the unceded territory of the Squamish, Musqueam, and Tsleil-Waututh nations.
Emily Hermant is an interdisciplinary artist whose sculptures, material drawings, and installations explore themes of communication, gendered labor, technology, and craft. She received her BFA in Studio Arts from Concordia University in Montréal, QC, and her MFA as a Trustee Merit Scholar in Fiber & Material Studies from the School of the Art Institute of Chicago. Her work has been exhibited in museums, galleries, and festivals in Canada, the United States, South America, and Europe, and has been featured in LVL3 Media, ArtSlant, Espace Sculpture, The Washington Post, and TimeOut Chicago, among others. Hermant has been awarded grants from the BC Arts Council, the Canada Council for the Arts and the Conseil des Arts et Lettres du Québec, and residencies at the Burrard Arts Foundation, Haystack, ACRE, Ox-Bow School of Art, The Ragdale Foundation, NKD Nordic Artists’ Centre, and the Vermont Studio Center. Hermant is based in Vancouver, BC, where she is an Associate Professor of Sculpture + Expanded Practices in the Audain Faculty of Art at Emily Carr University of Art + Design.
Nico McGiffin (b.2002) is a non-binary, queer assemblage sculptor investigating the ways in which found and fabricated objects work to bridge the gap between butch-queer identities and highly macho cis-masculinity. They are based in “Vancouver BC” on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (TsleilWaututh) Nations, where they are completing their BFA in Sculpture + Expanded Practices at Emily Carr University of Art + Design. Nico is a coordinator of The Object Corner, a student-led gallery committed to maintaining an accessible space for emerging artists and designers to exhibit their work at Emily Carr. Nico’s practice uncovers the not-so-overt homosocial relationship that exists between x-rated queer transsexuality and ultra-masculine blue-collar identities. Drawing from archival research and object recognition, they pay homage to the resourceful and hand-made aesthetics of historical queer kink objects. Combining erotic materials like leather, latex and silicone with second-hand athletic gear, man-cave collectibles and construction tools, Nico focuses on conducting a conversation between “disparate” social cultures, asking the viewer to consider the boundaries of their own identity through begrudgingly merged tools and objects. Instead of erasing the pre-existing connotations naturally carried by readymades, Nico integrates the information their second-hand objects hold into a higher form, splicing socially separate material into detailed, sexually ambiguous sculptures that they like to define as somewhat of a hate-fuck. Casting a lustful haze over the so-called lines that separate hyper-masculinity and hyperqueerness, Nico creates hot and heavy avenues from which their sculptures enter a strangely romantic dichotomy between the stereotypically macho and obscenely queer.
Germaine Koh is an internationally active artist and curator based in Vancouver and Saltspring Island, ancestral territories of the Musqueam, Squamish, Tsleil-Waututh and Quw’utsun First Nations. Her work ranges widely across media, adapting familiar objects to create situations that look at the significance of everyday actions and common spaces, and which encourage connections between people, technology, and natural systems. Her projects in progress during the 2022 Art Apprentice Network period include a public art commission for the Topaz Skatepark in Victoria. Koh’s ongoing projects include Home Made Home, an initiative to build and advocate for alternative forms of housing, and League, a participatory project using play as a form of creative practice. Recently she was the City of Vancouver’s first Engineering Artist in Residence, and in 2021 she was the Koerner Artist in Residence at the University of British Columbia.
Koh’s exhibition history includes the BALTIC Centre, Musée d’art contemporain de Montréal, Para/Site Art Space, Frankfurter Kunstverein, The Power Plant, The British Museum, the Contemporary Art Gallery in Vancouver, Plug In ICA, Art Gallery of Ontario, and the Liverpool, Sydney and Montreal biennials. She has received the Shadbolt Foundation VIVA Award and been shortlisted for the Sobey Art Award.
Bianca Del Rio Kodato is an interdisciplinary designer originally from São Paulo, Brazil, and now residing in Vancouver, Canada. Her design practice sits in the space where the tangible meets the poetic.Through a participatory, playful, and place-based design approach, she advocates for social innovation and community resilience as a means to inspire conversation and behaviour change between people and the environment around them. Bianca has just graduated from Emily Carr University with a Bachelor’s degree in Industrial Design and a Minor in Social Practice and Community Engagement.
Glenn Lewis graduated from the Vancouver School of Art (now Emily Carr University of Art + Design) in 1958. He also studied ceramics under Bernard Leach in St. Ives (Cornwall, England) (1961-1964). Lewis has worked in video, performance, film, ceramics, photography, sculpture, and writing. As one of the co-founders of the Western Front in Vancouver, Lewis initiated and administered the Video Program (1974-1976), curated the Performance Art Program (1977-1979), acted as arts administrator and program coordinator (1979-1987), initiated and coordinated the Computer-Integrated Media Program (1985-1987). In addition, he was head of the Media Arts Section of the Canada Council (1987-1990). He had solo exhibitions at Douglas Gallery, Vancouver Art Gallery, Belkin Satellite, Vancouver, Canada. Lewis lives and works in Vancouver.
Cory Yeung (he/him) is an interdisciplinary artist based in the unceded, ancestral territories of the Musqueam, Squamish, and Tsleil-Waututh Nations. Working within ceramics, sculpture, fiber and print, his approach with material is a tangible response to his quest to connect to his Chinese Canadian cultural heritage and queer identity. His practice draws inspiration from the Chinese diaspora, Ming porcelain, queer club culture, modernist architecture and maximalist décor tendencies. The resulting work traces the fruitful exploration with an aim to continue conversations within communities he proudly belongs to.
Hazel Meyer: Hi there.
I’m an interdisciplinary artist who works with installation, performance, and text to investigate the relationships between sport, sexuality, feminism, and material culture. My work aims to recover the queer aesthetics, politics, and bodies often effaced within histories of sports and recreation. Drawing on archival research, I design immersive installations that bring various troublemakers—lesbians-feminists, gender-outlaws, incontinent-queers—into a performative space that centres desire, queerness, and sweat.
I often collaborate with my partner Cait McKinney. These collaborations explore our shared attachments to queer histories through research, writing, and archival interventions.
I presently live in Vancouver, on the stolen and unceded traditional territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh.)
Kelsey Steeves is a mixed-media artist and art educator who lives and works in Vancouver, British Columbia, on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Her practice is centred around painting but incorporates installation and unconventional material practice. Kelsey’s works explore finding joy in material-based research and making as a process of resilience and survival. Kelsey has exhibited in and curated several shows through the ecu neighbourhood gallery. Her works were featured in the group shows Faces of the Neighbourhood (2023), Any Old Place (2023), and Liminal (2022) as well as in the solo exhibition, Lay your Griefs on the Grass (2023). She recently received a BFA from Emily Carr University where she was awarded the Bill Reid Visual Arts Scholarship, the John David Carr Memorial Scholarship, and a BC Arts Council Scholarship.
Holly Schmidt is an artist, curator and educator that engages processes of embodied research, collaboration and informal pedagogy to explore the multiplicity of human relations with the natural world. Her work involves the creation of temporary site-specific projects and residencies, along with material-based explorations in the studio. Her national and international exhibitions, projects and residencies include: Vegetal Encounters Residency (2019-2021) UBC Outdoor Art Program, Quiescence (2019) Burrard Arts Foundation, A-Y with Locals Only (2018) AKA Gallery, Pollen Index (2016) Charles H. Scott Gallery, Till (2014/15) Santa Fe Art Institute, Moveable Feast (2012) Burnaby Art Gallery, Grow (2011) Other Sights for Artists’ Projects. Schmidt is grateful to live and work in Vancouver, Canada, the unceded territories of the xʷməθkʷəy̍əm (Musqueam),Skwxwú7mesh (Squamish) and səl̓ílwətaʔɬ(Tsleil-Waututh) Nations.
Elijah Biscoe is a writer and artist currently living in so-called Vancouver. He has recently completed his BFA from Emily Carr University of Art + Design, with a focus in Illustration. His practice ranges in discipline and form, but he finds his primary mode of expression within relief printmaking, conscientious world-building, and the construction of interactive narratives. He is the lead writer at Dust Bowl Interactive, a small collective of artists and writers working to tell the unsung stories of the world. Elijah is afflicted with an obsessive compulsion to learn everything he can about time and history. This has resulted in a chronic research addiction which has had lasting effects on his overall health. His interests vary wildly—from literature and poetry, to role-playing-games, to cultural anthropology, to Marxist geography, to prehistoric marine biology. You will likely find him sleepless, drifting through the city.
Julie Andreyev is a Vancouver based artist-activist, researcher and educator. Her multispecies studio practice, called Animal Lover, explores more-than-human creativity and ways of knowing. The Animal Lover works have been shown locally, nationally and internationally. Andreyev has published her research in academic journals, books, catalogues and magazines. Her forthcoming book Making Art with Animals: What Interspecies Creativity Reveals about Our Kinship with Nature is in the publishing stage with Intellect Books, UK. ETA: fall 2021. Her research and artwork are supported by the Canada Council for the Arts, and the Social Sciences and Humanities Research Council of Canada. Andreyev has a PhD from Simon Fraser University, and is Associate Professor in the Audain Faculty of Art, Emily Carr University of Art + Design where she teaches New Media + Sound Arts, Critical Studies and Foundation courses. Andreyev enjoys walking with her canine collaborators, Heroe and Zorra, paying attention to the liveliness of the local animals, trees and plants, and Earth forces. She is currently working on creative co-productions with birds (Bird Park Survival Station), and creating immersive media depicting experiences within old-growth forest ecologies (Wild Empathy).
Emma Pallay (she/her) is a multidisciplinary artist living on the unceded lands of the Kanien’kehá:ka (Mohawk) Nation in Tiohtià:ke (Montréal). She is strongly committed to the printed arts, having completed a BFA from Concordia University, majoring in Print Media. She is completing a Bachelor of Arts in Psychology at Concordia University (expected June 2023) and is an MFA candidate at Emily Carr University of Art and Design. Her practice is inspired by fostering deeper connections with nonhuman animals through representational portraiture and storytelling.
Kay Slater is a multidisciplinary artist.
Kay’s artistic practice explores value as it relates to process and expectations. Multidisciplinary means that they work in a variety of ways to make and produce work; such as illustration, paper and cardboard sculpture, photography, videography, writing, and discussion. An example is their annual, self-directed residency every October on Instagram that explores process and documentation. They enjoy creating and maintaining spaces where people can explore, learn,experience, fail, feel, and create!
Kay is queer, white, and hard of hearing. They use They/Their/Theirs pronouns exclusively online (cyberspace), and accept the use of fluid pronouns, in meatspace*
Kay subscribes to the philosophy of the New Sincerity which strives to “be more awesome”.
Visual Description of Kay Kay is a white, middle aged person with greying shoulder length hair. They have shaved sides and often wear their hair up and away from their face. They have brown eyes, a double-pierced nose and lip on opposing sides, and large rosy cheeks. They have a large and teeth-exposing smile that crinkles the corner of their eyes. They are an average to large build, and stand 5’6 or 168 cm. Their appearance reads as femme, and their clothing tends to neutral and casual. Kay’s name sign is the letter K in ASL (palm facing out, with index and middle fingers sticking up like the letter ‘V’, thumb is tucked at the base of the two extended fingers. The rest of the hand is curled in, touching the palm.) with the middle finger touching just to the side of their mouth at their dimple, and twisted back and forth like the sign for pickles.
grunt gallery is a cultural community that upholds art in all its forms, with a mission of advancing artistic innovation through the support of diverse and often unruly ideas, practices and worldviews. They are committed to actively upholding the integrity and inherent value of artists and their work, and continually questioning accepted notions of contemporary art without limitation. They strive to act as an intersection between communities, and to actively disseminate capital – economic, cultural and relational – in the service of a more equitable future. grunt gallery cares for artists’ work in the long-term, and we aim to offer broad accessibility to it over time and across media.
Christina Young Kim is a multi-disciplinary artist from Emily Carr University of Art + Design. Their work explores cultural studies and exhibition design through the experimental usage of digital tools, print media, and traditional painting approaches. Of Korean descent, their artistic practice includes the Korean diaspora, intersectional identity, and multimedia.
Landon Mackenzie has built an impressive body of work and is known for her large-format abstract and mapping paintings and works on paper. Her work has been exhibited in over 100 exhibitions across Canada and internationally, and collected by many museums including the National Gallery of Canada and the Vancouver Art Gallery. She studied at the Nova Scotia College of Art and Design (NSCAD), and received her MFA from Concordia University in 1979 before winning 1st Prize at the Quebec Biennale of Painting in 1981. Mackenzie has received numerous awards including the Governor General’s Award in Visual and Media Arts in 2017. Based in Vancouver she is Professor Emerita at Emily Carr University of Art + Design.
Jane Grocott (b. 2000 Durham, NC) grew up in Winnipeg, Manitoba and just recently graduated with a BFA from Emily Carr University of Art + Design. She is now living and working in Vancouver, on the unceded territories of the Coast Salish peoples, including the Musqueam, Squamish and Tsleil-Waututh nations. Grocott is a visual artist who works to poeticize her reality into gestures of paint. Images taken from daily life, social media, and a mix of contemporary painting references act as foundations from which abstraction emerges as she determines when to represent or misrepresent the elements of an image. A key part of her practice centres around embracing complexity and exploring the tension of in-betweens; between figuration and abstraction, control versus abandon, and presence of form over absence. Her painting inquiry is sustained by the endless task of absorbing the constant flow of visual information and discovering new ways of translating it through paint.
Lindsay McIntyre is a film artist with an MFA from Concordia and a BFA from the University of Alberta. She applies her interest in film chemistry, analogue technologies and structure to make award-winning short 16mm films and expanded cinema performances. Her works are often processed-based and involve documentary and experimental techniques. Interested simultaneously in the apparatus of cinema, portraiture, representation and personal histories, she bridges gaps in collective experience and remains dedicated to integrating theory and practice, form and content. Her current research involves the autoethnographical exploration of intergenerational trauma and the grandmother effect as a biological survival mechanism and also the ways and means of indigenizing institutions. Internationally, she has contributed a body of knowledge to the practice of silver gelatin emulsion making and coating for motion picture film and teaches this and other celluloid-based practices wherever anyone will listen – always aiming to make analogue filmmaking practices more accessible. She was honoured with the REVEAL Indigenous Art Award from the Hnatyshyn Foundation (2017) and was named the Victor Martyn Lynch-Staunton Award recipient for Excellence in Media Arts by the Canada Council for the Arts (2013). She is Assistant Professor of Film + Screen Arts at Emily Carr University of Art and Design on unceded Coast Salish territories and is of Inuk and settler Scottish decent.
Cameron Kletke was born in Calgary, Alberta, before moving to Vancouver to pursue a degree in Media Arts majoring in 2D + Experimental Animation. Her art practice touches on themes of finding beauty in monotony through colour and sound. Mainly practising with traditional materials, acrylic paint, pencil crayons, and pen and ink are common tools in her drawings and animations. Cameron has participated in creating experimental films in a recent Rear Window Cinema project, created by curator and Media Scholar Alla Gadassik in conjunction with the Flavourcel Animation Collective, VIVO Media, and Emily Carr University. She has also worked as a character designer, animation TA, freelance artist, and rigging artist for an interactive video game at the start up company, Narratic Labs. Her first film, ‘you feel soft’ (2022) has been screened in New Zealand, Calgary, France, Oklahoma, and other festivals around the world.
Ruth Beer is a Vancouver-based artist interested in cross-disciplinary approaches to cultural practice. Her artwork that includes sculpture, video, and interactive projections has been shown in national and international exhibitions. She is a member of the RCA and she has been awarded several public art commissions. She is the lead researcher on SSHRC research and creation projects Catch & Release: Mapping cultural and geographic transitions (2009 – 2013), concerned with Pacific coast communities and the demise of the salmon canning industry, and Trading Routes: Grease trails, oil futures (2013 – 2017) addressing issues related to the contested geography and complex changing landscape at the intersection of cultural heritage and the economy of northern British Columbia. Trading Routes looks to provide a forum for dialogue and exchange among Aboriginal and non-Aboriginal artists to create awareness, reconcile differences and inform artistic practices and the production of artworks and exhibitions illuminating present situations and envisioning change to local culture(s) and geo/marine ecologies related to natural resources (fish and oil) and associated industries in remote regions.
Mattea Parker (she/her) is an interdisciplinary artist, designer, and student, studying interaction design at Emily Carr University. Mattea lives and works on the traditional unceded territories of the the xwməθkwəy̓ əm (Musqueam), Sḵwx̱ wú7mesh (Squamish), and səl̓ ilwətaɁɬ (Tsleil-Waututh) Nations. Her creative practice is concerned with exploring themes of humanity and interconnection through experiment and play, often blending digital and analog mediums. Mattea is passionate about learning new ways to create and tell stories through her design and artistic practice.
Massey’s work explores the confluence of art and science whereby he accentuates and amplifies natural phenomena, often heightened through artificial means or via slight manipulations, based on research into areas of physics, cosmology, astronomy, and other scientific disciplines. Light as a medium and image-making apparatus are fundamental aspects of his practice, employed in both the creation and presentation of works. The ground glass lens has always played a pivotal role in Massey’s work, most obviously through the medium of photography, but also as a fundamental instrument of light gathering. He has argued in past work that the ground glass lens has had an incalculable influence on our understanding of the world. This effect can in fact be traced back to Galileo whose lens-based observations of the moons of Jupiter led him to confirm the heliocentric theories of Copernicus. Thus it could be argued further that the ground glass lens actually led to a cosmological shift away from a religious-based world view into a science-based understanding of the universe. Much of what we currently comprehend about the universe and ourselves can be traced back to the invention of the ground glass lens.
Leah Koutroumanos is a multi-disciplinary visual artist from Calgary, Alberta. She received a Bachelor in Fine Arts from the University of Lethbridge in 2021 and is currently a candidate for a Master of Fine Arts from Emily Carr University of Art + Design. Working in painting, drawing, bookbinding, and installation, she values the act of making and material specificity. Her graduate research is focused on collection and observational study of everyday minutiae. Her practice engages systems of language, notation, and time.
Sylvan Hamburger is a visual artist working in printmaking, installation and public art. His practice often engages community collaboration, discarded objects and demolished architecture to explore notions of belonging, memory and placemaking amidst changing landscapes and cultures. Sylvan’s work is shaped by specificities of place, notably his community of East Vancouver within the unceded homelands of the the Xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Selílwitulh (Tsleil-Waututh) Nations.
Will Price is an American visual artist currently based in Vancouver, British Columbia, pursuing a BFA at Emily Carr University of Art + Design. His print-based practice examines the organic and the inorganic, and their intersection’s implication, investigated through the liminal space created by their dichotomy. To better understand this affliction, he seeks to explore and topographically map the interior of this liminal space through gesture, line, and confluence. He lives and works on the unceded lands of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh Úxwumixw (Squamish) and səl̓ilw̓ətaʔɬ (Tsleil-Waututh) peoples.
Art Apprenticeship Network is brought to you by the RBC Emerging Artists Project.