Overlayed floral shapes, colored using rich, earthly reds, browns, yellows, and pinks, blurring the line between two- and three-dimensional.

Charlene Liu: Lattice

The exhibition reveals the artist’s complementary approaches between the mindful deliberations of printmaking techniques and the observational immediacy of line seen in her plein air style paintings. 

crocheted yarn mirror images of two men, from the chest up, lying on their backs with their arms propped behind their heads — one, gazing up at the viewer; the other with his eyes closed. The yarns used to color their skin make use of colors similar to olive pigments, as well as shades of grey, blue, red, and pink.

Hurts so Good

Curated by Carolyn Hopkins, this exhibition is an all-female lineup of artists from the greater region. Featuring work by Robyn Johnsen, Jo Hamilton, Elizabeth Malaska, Jeralyn Fix, Morgan Rosskopf, and Leslie Vigeant.

A watercolor painting featuring translucent, blood red shapes radiating out from the bottom left edge of the frame. the shapes are variously sized oblong ovals. The background is light grey. There are two red dots of paint on the left side of the painting, and two thin lines of splattered paint extend from the red composition.

Danielle Dimston: Lightness of Being

Dimston creates watercolors and drawings notable for a minimalist palette, linear composition, and transcendent field. Her work radiates emotional honesty through purity of the line—accessed by repetition, gradation, and undulation.

Michael Nicoll Yahgulanaas: Carpe Fin

This monumental work has been created as a “Haida manga,” a unique approach developed by Yahgulanaas that blends several artistic and cultural traditions, including Haida formline art, Japanese manga, Pop Art, and graphic novels.