Past

Bobbie Burgers
A Window or A Mirror

Equinox Gallery is pleased to present A Window or A Mirror, an exhibition of new works by Bobbie Burgers. Burgers’ new works expand her exploration of the natural world where mystery comes into close contact with observation and emotion. Bobbie Burgers’ interest in this subject is in step with international developments, where a renewed and urgent focus on the natural world can be seen around the world in contemporary practices.

For Burgers, the studio has recently become a hall of mirrors, giving her an opportunity to think about the ways in which meaning is created. At times art reflects back to us, acting as a vessel for our thoughts and feelings where meaning is imparted onto it. As a window, there is an invitation into a world outside our own where new understandings emerge and materialize.

Please contact the gallery for a list of available works: info@equinoxgallery.com

Maggee Day
Criss-Crossing

Maggee Day’s works are notable for a sense of freedom, cultivated by the space outside of the canvas as much as what is in and on the paintings’ surfaces. Compelled by the architecture, streetscape, and views observed from her studio and home, the ingresses to Day’s spaces—windows and doorways—are the foundation of her recent bodies of work. Her choice of the familiar as the fundamental site of her study allows for a more experimental yet detailed exploration of materials and processes, and while her paintings appear as abstractions, they are in fact drawn from her surroundings. She explains: “Placing parameters on my work has been the opposite of restricting, it has encouraged new ways of thinking or creating.” Her paintings serve as a type of visual archive, responding to changes in the city, its seasons, and environments, with each painting beginning anew in response to ever-changing external stimulus.

For a list of available works, please contact the gallery at info@equinoxgallery.com or 604.736.2405

Neil Wedman
Ice Caves

Neil Wedman’s ice caves are created through a process of mixing and then significantly diluting acrylic paint, until it is as close as possible to the consistency of water. Holding the canvas vertically, the paint is carefully poured from a bottle down the surface. Each canvas is then expertly tilted or rotated to direct the flow of paint. This is where the medium and subject begin to echo one another—as the layers of liquid solidify, they resemble flowstone and other forms that might occur in an ice cave. The resulting paintings present a unique visual vocabulary which unveils itself slowly, where the subject is camouflaged by the same material method used to reveal it.

For a list of available works, please contact the gallery at info@equinoxgallery.com or 604.736.2405

Renée Van Halm
IRL

Over a long and dedicated career, Renée Van Halm has pursued her interest in expressions of creativity by others, especially those working in the fields of craft and design. Her own practice draws on a wide range of references, from era-specific domestic paint colours, to woven patterns produced by female members of the Bauhaus design group, and in this current body of work, patterned lengths of cloth from the late 1880s made as essential fashion accessories for women to express their individuality, commonly known as French ribbons.

The title of the exhibition, IRL, is an abbreviation for “in real life,” a term developed in the early days of the internet as a way to distinguish events and interactions occurring offline, outside the internet and its projected subjectivities and fantasies. The title acknowledges Van Halm’s interest in the very real, tangible impacts of pattern, colour, and design on social and cultural life. In viewing her works in person, physical characteristics of the thin brushstrokes and the materiality of the canvas are observed and felt, and one’s focus is activated by lively compositions, in real life.

For a list of available works, please contact the gallery at info@equinoxgallery.com

Gordon Smith

A prominent figure in a generation of notable West Coast painters, architects, poets, musicians and writers, Gordon Smith had an openly inquisitive mind and experimented endlessly in his art making. The unique presence of nature on the Pacific coast was a boundless inspiration to the artist. It was not the grand vistas nor the broad expanses of nature that attracted Smith, he was drawn to the web of trees, the entanglement of undergrowth, the reflection of a swamp, the snowfall on a branch—the intricacies of how nature functions cyclically and seasonally, through spring, fall and winter.

For a list of available works, please contact the gallery at info@equinoxgallery.com

The After Party

Welcome to The After Party, where artworks have been brought together to feature both the anticipation and the release of emotions—especially as we process the enormity of what has just passed. In particular, while we emerge from a global pandemic, there is a collective awkwardness in maneuvering through a new social condition. Inspired by the work of Maxwell Bates as its starting point, The After Party serves to convey the tensions at play in human relationships as people adapt to an intense period of disruption. May the exhibited artworks, made in the post WW2 period until now, be springboards for a myriad of ways to consider our current, complicated, and often isolated states of being.

With works by Maxwell Bates, Kim Dorland, Gathie Falk, Rodney Graham, Angela Grossmann, Fred Herzog, Jack Kenna, Neil Wedman, among others.

For more information, please contact the gallery at info@equinoxgallery.com

Isabel Wynn

Equinox Gallery is pleased to announce the representation of sculptor Isabel Wynn. Born in São Paulo, Brazil and raised in Steveston, British Columbia, Isabel Wynn studied ceramics at Langara College and Emily Carr University where the foundations for the methodologies shaping her current sculptural practice were laid. Through the medium of clay, her practice is an exploration of lived experiences, the obscurity of emotions, and the balance between control and uncertainty.

Primarily crafted on the potter’s wheel, Isabel Wynn’s works involve a process of throwing, attaching, and warping to create dynamic and expressive forms. The artist explains: “I was initially drawn to large traditional forms in wheel throwing however my interest in achieving perfection gradually shifted over time as modes of experimentation revealed unexpected and intriguing outcomes.” The expanded scale of her work reflects an especially physical practice, where bodily movement and interaction with the material is highly significant. The resulting sculptures echo parts of the body, complete with folds of skin, slumped flesh, arched spines, and wounds—all reflections of the artist’s bodily experiences.In her works, movement and time appear suspended, capturing moments between the artist’s body and the material.

For a list of available works, please contact the gallery at info@equinoxgallery.com

Philippe Raphanel
New Paintings

Philippe Raphanel draws on a variety of influences to create atmospheric compositions that resist a single interpretation. Since immigrating to Canada from France in 1981, Raphanel has been profoundly affected by the dense wilderness of British Columbia as well as the work of historical Canadian painters such as Emily Carr. While landscape and the natural world are at the core of his practice, Raphanel’s paintings present a visual experience that suggests a set of open questions about how natures and its energy reveal themselves. His visual vocabulary includes elements familiar to the forest – branches, nests, leaves – while maintaining a looseness in their application that allows for new forms and associations to emerge.

For a list of available artworks, please contact the gallery at info@equinoxgallery.com

Angela Grossmann
The Silver Suite

Gwenessa Lam
Before Present

Gwenessa Lam is a visual artist and educator. Her current work draws from historical objects and domestic spaces as contested sites of collective memory. Lam is interested in understanding the psychological and social implications when artifacts are lost to disaster, censorship, or misidentification.

Lam received her BFA from the University of British Columbia and MFA from New York University. She has taught at New York University, the University of British Columbia, and the Alberta University of the Arts. Lam has attended residencies at Skowhegan, MacDowell Colony, Yaddo, and the Banff Centre. Her work has been exhibited at the Bronx Museum of Art and the Queens Museum of Art in New York. Lam lives and works in Vancouver, BC and is currently Associate Professor at Emily Carr University of Art and Design.

For a list of available works from this exhibition, please contact the gallery at info@equinoxgallery.com