Botanical Colour by AJ Salter

Since the COVID-19 pandemic, the world has seen many adaptations of conventional exhibitions toward online formats. Students in VISA 362, a third year photography class taught by Andreas Rutkauskas, were asked to consider what online dissemination of their photography can offer an audience. Branding and marketing as an artist are important skills in this time especially, therefore they were asked to consider using this assignment as a way of exploring a visual brand or alter ego.

Below is a snapshot of what one student, AJ Salter, completed for the project, a documentation exhibit on the benefits of sustainable clothing focusing on the education and exploration of natural dyes and sewing a garment by hand.

“For VISA 362O with Professor Andreas Rutkauskas, I ran this online exhibition for an assignment with the theme Speculative Exhibition. I believe that social media is a fantastic way to reach people and is relevant more than ever during the current socially distant times when people are still looking for ways to connect with others. I would like the content to revolve around continued themes I have already worked with, but in a new way.

After looking at fast fashion, vintage clothing, and discussing the importance of being mindful of wastefulness I curated an exhibition that documents a step-by-step process where I make a garment by hand starting with using locally sourced natural dyes to create the colours.

By documenting this process on social media, it allows viewers to follow along and learn the process as well as extra information and techniques I posted using the captions for the photos or videos as well as the story feature. I believe this added to my previous themes of fashion and waste and incorporated the element of time that also exists in my previous works; such as the time it takes to make clothing that is durable vs how long typical fast-fashion pieces made in bulk will be worn before being thrown out. From start to finish the exhibition was documentation and informational in nature, with the final product marking the end of the show.”

You can view the entire process on Instagram @botanicalcolourexhibition

YOKE

YOKE is a multi-disciplinary show gathering recent works by fourfirst-year MFA students at UBC-Okanagan: Michaela Bridge-Mohan, Natasha Harvey, Xiaoxuan / Sherry Huang, and Scott Moore.

Art is a practice of yoking as much as it is the very material by which things come together and continues to hold us together.Gathering under the exhibit’s name, these works collectivelycontemplate the apparatuses and affects that bring us together, anidea made fraught by the pandemic. How should we be when we’re together? And how can art help us imagine ways to continuebeing together that are sustainable, caring, forgiving, loving – to ourselves and to each other?

Xiaoxuan / Sherry Huang is an interdisciplinary poet who plays in the mediums of music, photography, and print. She conceives of poetry as both a happening (an event with a time and a place,) and an art object. She seeks to create poems that are immersive, embodied, and experiential works of art in their own right.
Her recent full-length publication, Love Speech, (Metatron Press 2019,) is an intersection between poetry and epistolary auto-theory.
Across her body of work, she is interested in love, speech act theory, epistolary address, and écriture féminine.
Connect with her online at xiaoxuanhuang.com and on instagram as @xiao_xuan_huang

Artist Statement:

IF YOU ARE / CERTAIN OUTLINES
vinyl-cut poem on transparent inkjet film, two-channel projection of 35 mm photos, ambient guitar drone (6 minutes / looped forever).

The text in IF YOU ARE/CERTAIN OUTLINES belongs to a larger collection of anti-narrative love poems currently being written, called ALL THE TIME. ALL THE TIME explicitly triangulates the relationship between love, queerness, and time by presenting traces of love over long distances, long terms, and of longing that persists despite separation.The seamless looping of sound and image in IF YOU ARE/CERTAIN OUTLINES evade compositional linearity, recreating queerness’s anachronism in three-dimensional space.

 

Natasha Harvey – Artist Statement

Natasha creates both abstract and representational works of art. She is a mixed media artist and collage is a key element in her work. Mixed media gives her an immense platform of creativity and expression. Natasha is passionate about two dimensional disciplines in visual art. Drawing, painting, photography and printmaking practises are combined and layered in her art making process. Natasha has discovered throughout her education and career, that the process is as important as the completed work of art.

The paint is given a voice. The energy of the medium, expressed in pools of paint, dripped across the canvas, springs to life without the intervention of a brush or knife. Energetic mark making illustrate a feeling of vitality, spirit and spontaneity. Her most recent mixed media paintings depict landscape. The landscapes are abstracted and large scale. It is her intention to evoke an emotional response through her use of colour, texture, atmosphere and composition. Collage brings forth areas of photography. Photographic images are torn up and reassembled to create a new world, a local landscape that doesn’t really exist. Photographs work harmoniously with the more abstract areas of the composition. Texture, drips and puddles blend with representational images, creating an ebb and flow, a push and pull between reality and the imagination.

Action and Object Drawings from VISA 300 001, Advanced Practice in Drawing

“This selection of drawings is intended to function as a conversation between two opposing but interrelated definitions of drawing as both verb and noun that the students considered this semester.

When considered as a verb drawing can be understood as a temporal, process-based action, something that we do. When considered as a noun, we focus more on its role as an autonomous art object or image, something that is there, to be viewed. Most of the time both definitions apply.

In focusing on drawing as a conduit between self and other, both through its making and its viewing, themes emerged of relationships to and perceptions of time, place, and bodies.”

Alison Trim, Instructor VISA 300O001

List of works

01 Jen Poodwan, Computer Biology, digital, 1758 x 1324px, 72dpi

A crossover of the digital and the biological.

02 Madison van der Gulik, Queen Lucy, Copic markers, prisma color pencil crayons, 14″ x 10.5″

A personal drawing meant to put emphasis on the importance some people give pets.

03 Ari Sparks, Two Boys Kissing, plastic fuse beads, 27” x 19”

Our already increasingly virtual experience of interaction and connection has been deeply exacerbated by the coronavirus pandemic. This work explores the experience and mediation of pixelated information in a digital era by representing an act of intimacy, through the physical process of individually placed beads.

04 Angela Wood, One Place After Another, ink & watercolour on paper, 11 x 15” each

1 Apartment, 2 Backyard Neighbour, 3 Cul-de-Sac, 4 City Kid, 5 Prairie

This series is an exploration of past self and existence in place. These spaces are personal to my life but are rendered with little detail aside from architectural structure, allowing room for each viewer to place themselves within the works and more openly interpret them.

05 Sidney Steven

(We) Move in Unison, graphite with bingo dabbers on paper, 18” x 24”

Time only goes in one direction, so I wanted to visualize that even though we all move in different ways in life, we are still connected to time.

06 Brett Dopp, Die Kirche, digital, 3600 x 5400 px

What’s more spooky than an old church?

07 Shelley Sproule, Spectacular Fall at Billie Bear (Muskoka), watercolour and gouache, 22″ x 15 ”

Billie Bear is a resort outside of Huntsville Ontario in the Muskoka Highlands. Fall colours are spectacular giving the viewer an almost surreal experience.

08 Pip Mamo Dryden, A Momentary Life, pencil crayon and watercolour, 12” x 16”

A Momentary Life is an examination of how we remember people who have died, and the way we perceive people we’ve never met.

09 Faith Wandler, Silhouette, 11”x 15”x 3, acrylic ink on watercolour paper

My theme is dealing with inhabitants of space and how the plants I have in my studio can create their own imagery from the shadows that they cast on my walls. I hope to bring the viewer a sense of calmness and nurturing just as my plants do for me in my studio space.

10 Andrew Halfhide, Familiar Figure, marker on Bristol board, 6’x 1.5’

The aim of this work was to draw without the biases of habit and focus more on the figure I was trying to capture. Drawn using my weaker (left) hand and at this life-size scale made the figure seem more tangible during the drawing process.

11 Adrianna Singleton, Dys Connect, charcoal, ink, oil pastel on canvas, 3 ft x 1 ft

This piece is about the distortion of my perception due to body dysmorphia. Struggles of my ‘problem’ areas are amplified; face, chest and thighs.

12 Candice Hughes, Nana Says, graphite on paper, 28’’x30’’

A recreation of the only image of my Nana in the remaining years of her life.

13 Susan Protsack, Moving ~ Memories I, mixed media on cartridge paper, Moving ~ Memories II, mixed media on handmade paper, Moving ~ Memories III, mixed media on drafting film, each 20” x 30”


These works are based on textural rubbings of surfaces in a home from which I recently moved. Many of the surfaces are associated with personally meaningful events and so, for me, these works are souvenirs evoking moving memories.

13 Amily Wang, Aquarium, ink and watercolour on paper

To make this work I began with looking at the different shapes of the fluid ink drop to give it more meaning.

Art Apart – celebrating what our disability arts community can create together from a (social) distance

Although many of us have had to be separated during this time — which has been especially hard on those of us with disabilities and health issues — we at Cool Arts still managed to come together to make art as a community. Art/Apart, much like the manner it was made in, might feel disjointed at first, discombobulating, even a little bit of a hodgepodge, if you like. Look closer though and you might just see inspiration leap. Page to page, brushstroke to crayon, there is not one single piece in this gallery that has not been inspired by another here. Why? Because these many pieces were made together by our tight-knit community of dedicated artists with developmental disabilities and other exceptionalities. Here, we’re advocating the legitimacy of this collectively created aesthetic that is the byproduct of a unique set of lived experiences. But most of this work this wasn’t created in our downtown Kelowna, BC studio, nestled in the Rotary Centre for the Arts. Instead, for the first time in our organization’s nearly two-decade-long history, every artist featured in our latest show has had to work in isolation. When the COVID-19 pandemic began, we knew it was essential to keep our Cool Arts community together, even from a distance. We started with moving our community programming to pre-recorded video lessons and rapidly progressed to live video conferencing and even a few limited attendance in-person programs behind clear plastic sheets. The shift in platform naturally changed the relationship between facilitators and our membership into a more intimate mentorship focused one. Some artists worked on scraps of paper out of the recycling bin, others started filling up notebooks long forgotten. We began delivering art supplies using physically distanced techniques picked up from the food curriers we’ve become so dependant on over the past few months. And every day, here at Cool Arts, we were receiving a plethora of emailed photos of these artworks from our artists, their families, and support workers. Before we knew it, we’d amassed a significant collection and knew we had an obligation to share it. Looking back, it seems obvious that one artist’s mentorship session would influence the others on the same screen and so on and so forth. However, for us, we didn’t get to see the interplay of intersecting interests influencing each work until we started laying out the pieces for this show. Originally, we were going to present this collection virtually via social media. Then when we saw how stunning all the pieces looked, we decided to put them up in digitally overlaid frames printed on posters around Kelowna’s Cultural District. But seeing those pieces together made us realize this show had to go up in a gallery. Which direction would we take this show? If this pandemic has taught us anything as disabled folk, it’s that different barriers of access exist differently for different people. Nothing taught us this more than the different ways each of us had to engage in our art making individually over these past few months; coming together under new restrictions, whether live virtually, in physically distanced in-person lessons, or exchanging pre-recorded video letters. So in the end we decided that with all the sacrifices our community has had to make during these tumultuous times, Cool Arts deserved all three. Because this is a celebration of what our community can do, even apart. And at Cool Arts, that means everyone gets to join in the celebration. We hope you enjoy the show. 

Lip Sync performances from THTR 101

For this performance class assignment students were asked to choose a recording of someone that they admire, saying something they agree with and make a lipsync video performing this person’s text. 

Students were asked to learn the movements, dress the part. 

This is a study in imitation.

Check out the highlight reel:

and this student’s work:

Creative Work – an Arts Council of the Central Okanagan exhibition of UBCO faculty members

The Arts Council of the Central Okanagan is delighted to present UBCO faculty members, Katherine Pickering, Briar Craig, Patrick Lundeen, and Conner Charlesworth.

 

Under The Skin – a Laundry Room Collective pop up exhibition at the Lake Country Gallery

The Laundry Room Collective Presents a pop-up exhibition celebrating queer artists of the Okanagan.

Many of the artists are UBC Okanagan students and alumni.

FIFTEEN

FIFTEEN features the works of 15 UBC Okanagan alumni from both the Bachelor of Fine Arts and Masters of Fine Arts programs, in celebration of the campus’ 15-year anniversary.

These artists are featured in a catalogue, produced in partnership by alumniUBC and the Faculty of Creative and Critical Studies, as well as part of an exhibition at the Kelowna Art Gallery. This project is part of the events happening for Homecoming 2020 at UBC Okanagan.

Artists included in FIFTEEN:

Moozhan Ahmadzadegan
Brit Bachmann
Scott Bertram
Arden Boehm
Sarah Burwash
Connor Charlesworth
Jon Corbett
Carin Covin
Jorden & David Doody
AJ Jaeger
Christian Nicolay
Ed Spence
Pamela Turner
Tania Willard

FIFTEEN will be on exhibition at the Kelowna Art Gallery in The Front Project Space from September 19 to November 15, 2020. UBC Okanagan alumni will receive complimentary admission at the Kelowna Art Gallery during Homecoming weekend.

The exhibition is co-curated by Briar Craig, Professor, Visual Arts, and Katherine Pickering, Lecturer, Visual Arts.

 

Moozhan Ahmadzadegan
BFA 2018

Where Are You From? شما مال کجا هستی؟(
(2019)
Cotton sheet, ink, spray paint
Dimensions variable

Where Are You From? attempts to navigate the complex intersections of ethnicity, culture, and nationality. This work questions the complicated implications of seemingly innocent questions, such as “where are you from?” when asked by strangers. This work is influenced by the ritual of this conversation; strangers will often ask me where I am from, noticing that I don’t look white, or that my name sounds very “ethnic”. I respond, as a second generation Canadian, that I am from Canada. The follow up question is almost always the same: “where are you really from?”

 


 

Brit Bachmann
BFA 2013

(The tall peach vase)
A visual arts program that doesn’t have a pottery studio isn’t worth the tuition (2020)
Clay, glaze
13 x 5.5 inches

(The shorter black and red vase)
Aggressively interrogate Eurocentrism in visual arts education (2020)
Clay, glaze
7.5 x 5 inches

There are seven years between my grad exhibition drawings and these clay vessels. While my social practice has been a frenetic transition through writing, publishing, radio and non-profit arts administration, my material practice has been steady in its stillness. From the repetition of my ink and vinyl animations, to inertia play on the potter’s wheel, I seek out quiet solutions for documenting movement in time. A drawing is as truthful as a photograph, and a pot is as truthful as a stone. My vessels are not usually titled, but those who know my work know that I never pass up an opportunity for institutional critique, as was my training at UBC-O.

 

Scott Bertram
BFA 2007

Untitled (19-15) (2019)
Acrylic on Canvas
63 x 60 inches

I strive to create paintings that embrace uncertainty and increase my tolerance for ambiguity. Through the use of improvisation, intuitive structures, and openness to possibilities, I am able to proceed in a painting without fixing my view or knowing what the painting will eventually be. The kind of painting that I aim for is one that I am not completely able to grasp, yet it doesn’t push me away, and so I want to stay with it and remain within its ambiguity—in not knowing.

 

Arden Boehm
BFA 2018

Crushed (2018)
Assorted metals, Baltic birch plywood
Dimensions variable

In a culture that is controlled by material accumulation, we are continually encouraged to look for gratification in the form of attainment. My work investigates the relationship that we humans have with everyday objects. I deal with concepts of production as well as categorization and the notion of the archive. The seeming banality of everyday objects is countered by the emphasis designated basis of my exploration. I am fascinated by the value placed upon specific objects, as well as the act of casting away the seemingly useless when something newer comes along. My investigation is fueled by the social concerns that arise from a continuously growing mess of mass-produced things that are often so quickly considered to be worthless.

 

Sarah Burwash
BFA 2009

Grain of sand in my boot (2020)
Watercolour and collage
18 x 24 inches

Situated in non-specific yet decidedly natural landscapes, my work depicts figures experiencing the spectrum of life: creation, destruction, rest, play, curiosity, sorrow, exhilaration, death. Landscapes appear as outlying settlements in which I research the realm of physical and emotional experience including struggle, hard work, failure, and vulnerability. These dreamlike environments celebrate and question a range of gendered interests and identities with undertones of humour, fantasy, and performance. Nature perseveres regardless of its hardships—a disjunctive labyrinth to traverse in search of a meaningful path. In contrast to the virtual languages that saturate us, my intricate cut-and-paste style reflects an inclination toward the tactile and rudimentary.

 

Connor Charlesworth
BFA 2015

Push Up, Yellow (2020) 
Oil on canvas
68 x 38 inches

The work Up Arms, Yellow is part of a series of paintings that are all the same dimensions. The figurative source imagery is derived from photographs I took and collaged together. All the works in this new developing series emphasize the verticality of the canvas and, for the most part, the forms remain contained well within the frame. I arrived at the subject matter and contained composition during the spring of 2020 during isolation and the various ongoing civil rights movements. During such times, I hope this network of gestures opens up a dialogue for consideration of our relationship to these events.

 

Jon Corbett
MFA 2015

Nohkom (2020)
Digital print on canvas
18 x 24 inches

Nohkom is from a series of digital portraits of my family and is the central image from my video work titled Four Generations that was exhibited at The Smithsonian’s National Museum of the American Indian and Canadian (2017-2018) Contemporary Native Art Biennial (BACA) (2020). This portrait of my paternal grandmother was computationally generated using 3D virtual beads and is the origin of my current PhD research that involves the development of a more suitable digital media toolkit for Indigenous artists. This includes an Indigenously-based programming language (currently Cree), physical hardware designs for Indigenous orthographies, and software/application solutions that use Indigenous Storywork as programmatic code.

 

Carin Covin
BFA 2003, MFA 2010

Easel Quartet XI (2020)
Oil and enamel on canvas
38 x 54 inches

The Easel Quartet began as observation and response drawings that reflect my interest in the politics of the everyday. Second Wave Feminism allows me a poetic understanding of the politics of the everyday and of the home. The easels provide an entry point through their function and inclusion as observed objects. The resultant drawings are manipulated through changes to scale and mediums used. These new works are then photocopied. The resultant solvent transfers push the images past their original intentions.

These images are re-translated into a new suite of paintings; Easel Quartet XI and XII are the beginnings of these new investigations.

 

David & Jorden Doody
BFA 2008

Virtually Empty, 2020
Mixed Media Assemblage, printed fabric, printed reflective film aluminum dibond panel and ironing board.

Artist statement: As sculptors, We wade in the brackish waters between image and materiality, investigating the tactile qualities of sculpture and three-dimensional space in the virtual light of screen culture and the post-internet age of image explosion. With a genuine commitment to experimentation and improvisation, We construct material assemblages that respond to the constant deluge and saturation of visual information. Our work explores the migration of contemporary culture and imagination into the realm of the virtual network, where We are forced to reconsider presence, absence, and reproducibility as We sculpt our understanding of authenticity. Blurring the boundaries between the rational and the absurd, the measurable and the metaphysical, We strive to dislodge our creative practice from the dogma of prescriptive understanding. By wrapping the immaterial and the subconscious in a blanket of contemporary psychedelia, We seek to cultivate an unbridled space where contemplation and entertainment mingle freely. We encourage rogue collisions between icons, symbols, and materials that forge new and vibrant networks of associative meanings within the vast nebula of the Post-American Imagination.

 

AJ Jaeger
BFA 2013

It’s a dark world out there (2006)
Mixed Media
72 x 48 inches

I believe that art is visual storytelling: communicating a needed message and showcasing beliefs, heritage, and vision. My work has deliberately evolved to depict the complexity and contrast of life through a combination of mediums, symbolism, and surface patterns. I am inspired by creating poignant works of art that catch the attention of people distracted by everyday life—as a rally-cry to remind us all to focus on what matters most. Intuitively acknowledging the uncertainty of life fuels my creative mind and heart to keep expressing candid emotions that positively transform our collective future.

 

Christian Nicolay
2000

On the Horizon Line (Shipping Pallet No.3) (2015)
Light jet photograph, salvaged Plexiglas, MDF, acrylic paint, found detritus paper, collage, ink, pencil, tape, correction pen
31 x 30 x 4 inches each (Diptych) (78.74cm x 76.20cm x 10.16cm)

Statement:
liminal
adjective

  1. 
relating to a transitional or initial stage of a process.
  2. 
occupying a position at, or on both sides of, a boundary or threshold.
  3. liminal symbols of passage and transformation; doors, ladders, crossings, bridges, pallets.

On the horizon Line explores current issues of globalization and climate change through the lens of the liminal – a place betwixt and between. Our cultural landscapes are becoming increasingly crisscrossed and blurred through shifting borders and boundaries, directly impacting the growing challenges of migration and the transitory movement of people. Materials, images and objects reflecting concepts of liminality visually demonstrate transition and transformation – the visible and the invisible – the seen and unseen. The notion of ‘space’ and ‘place’ occurs in conjunction with idea ‘temporary’ and ‘permanent’ creating a play between the real and the unreal—the No Where and the Now Here.

 

Ed Spence
BFA 2005

Tunnelling (2020)
Pigment print and adhesive on paper
25 x 32 inches

This piece is one in a long series of experiments involving the dissection of photographs. Beginning as a single photograph that is subsequently cut into small units and rearranged, the image is abstracted, transformed and the original subject is effectively denied to the viewer. No information is lost or gained in the process, only rearranged. Designed as a metaphor for our subjective sensorial experience, the process invites thoughts about how we interpret information based on idiosyncratic personal and cultural patterns, and additionally, how information can be decontextualized and manipulated.

 

Pamela Turner

BFA 2017
Tunnelling (2020)
Pigment print and adhesive on paper
25 x 32 inches

I am focused on expanding the idea of fibre to include anything that can be linked or woven together, thus re-examining how fibres and materials function. It is important that my materials are only altered through the process of cutting, maintaining subtle but recognizable aspects of what the materials once were.

By choosing to keep my work monochromatic, my aim is to create an emergent image thatresults in a contemplative response from the viewer, both from a distance and up close.Blackness has been described as the definitive void, but it also marks the ultimate space ofcreative possibility. Monochromes both veil and reveal, as the expectations of objects weregularly associate with are given new potential through this method of material transcendence.

 

Tania Willard
MFA 2018

Gut Instincts (2018)
Digital print
~32 x 24 inches

Gut Instincts is an affirmation of women’s intuition, gut instinct, and ancestral voices that collapse the past, future, and present into an embodied and visceral experience of the present. This work takes its origin in a design from a cedar-root basket collected as part of the North Pacific Jesup Expedition (1897-1902) from Stl’atl’imx territories. In many collections, basketry from this period is unattributed to a maker. As an expression of Indigenous women’s art forms, this disappearance of named makers and ancestor artists represents the colonial disappearances and dispossession of Indigenous women, communities, and lands. My work seeks to bring these ideas, expressions, and questions that challenge the legacy and histories of anthropological framing of Indigenous art into connection with lived Indigenous experiences.

 

 

Lindsay Kirker: Away We Go

I paint images of construction with Nature as a way to reinterpret the world around me. This method of painting within my current body of work developed significantly after experiencing loss. I intuitively began taking pictures of construction sites, as a need for stability, manifested itself through an attraction to structure. Life felt chaotic, but I found salvation in scaffolding, cranes, and concrete. Through my artistic practice, common themes emerged: the idea of home and a sense of place, but more so, preservation, fragility, demolition, and creation. There was an immediate agency to create, and my paintings became both a response and a way to make sense of the nonsensical.

My thesis developed from a concern for the emotional and ethical disconnect required to live in the Anthropocene. The Anthropocene is the suggested renaming of our current epoch by geologists and earth scientists. There is no place on earth that has not felt the anthropogenic impact. We have transformed the earth system, and the evidence of this is species extinction, severe weather fluctuation, and ocean acidification.

Away We Go implies both a journey and a fear of saying goodbye. Contemporary philosopher Claire Colebrook suggests that for the first time, our extinction can honestly be imagined. The paintings displayed question the ideas and structures we put into place to protect us from these uncertainties.

The cityscape communicates structure. A sense of order is established through line, grid, and repetition, assuming pattern and stability, but this also suggests that life unfolds linearly. That we take the same unconscious routes among clearly defined paths, and that there is an order between our experience and the people we come into contact with. The painting reflects the human mind and behaviour, spontaneous encounters that occur outside of these assumed patterns of activity.

My paintings are a preservation and conservation of place and response to personal observations. Everything is connected. The process reflects the question, the narrative, and the concern. Layers show history, a struggle or an attempt to cover up that history, but human presence is felt, and the navigation towards understanding is left behind. What I am interested in far surpasses prefabricated concrete slabs constructed to contain. I am interested in the foundations of Being. When integrated with nature, the city’s infrastructure stands as a metaphor to explore all that we perceive as separate. The construction site is a place for rebuilding.

2020 Mural: Upstream

The summer of 2020 was the first year that visual arts lecturer David Doody taught a fourth-year painting class, leading the students through the many steps necessary to plan, pitch and deliver a public mural.

Eighteen students worked to create a full-scale permanent public mural in the heart of Kelowna’s Cultural District. Over the course of the five-week class in July and August of 2020, the students met and worked collaboratively to paint a colourful two-storey mural adjacent to the CTQ Consultants building on St. Paul Street.

This mural, entitled Upstream, depicts a larger-than-life multicolored salmon swimming upstream in front of a canary yellow Archimedes screw pump. The composition of this mural was designed by artist and UBCO Lecturer David Doody, to highlight and illustrate CTQ’s Harrison Hot Springs screw-pump project. If you stand back, you can see the Archimedes screw pump (dating back to 250 BC) in the background behind the spectacular salmon. This project depicts an actual project that CTQ completed for the Village of Harrison Hot Springs. The iconic canary yellow screw pump was designed by CTQ to protect the Village from annual flooding. The design of this screw pump was engineered to specifically reduce the salmon mortality rate down to zero and to support this valuable and sensitive fish habitat.

Support for this project was made possible with the generous donations from Sunbelt Rentals, CTQ Consultants Ltd., Opus Framing and Art Supplies and Fresh West Official.