On View at The Gibson

exhibition

on view
Oct 3, 2026–Feb 14, 2027

Here to Play

Variation for Sixteen Hands

A triptych image featuring three musicians seated in a performance space. On the left, a young woman in a purple dress plays a stringed instrument, focused on her sheet music. In the center, an older man with long hair plays a woodwind instrument, also concentrating on his sheet music. On the right, a man plays a lute-like instrument while seated. The background includes wooden paneling and decorative elements, contributing to a warm, acoustic ambiance.
Related Programs —The image is split into two sections. On the left, there is a close-up of an array of vintage electronic audio equipment featuring numerous black knobs, yellow and red jacks, and labels for functionality. On the right, there is a colorful fabric featuring repeated text that reads "WILD DOUBLER" in blue and yellow with dollar signs, set against a brown background.Fall Exhibitions Opening Reception eventTwo hands are using charcoal to create abstract, swirling lines on a large piece of brown paper. The hands are positioned close together, one holding a piece of charcoal near the paper's surface. The background shows a blurred array of colorful objects, suggesting a creative environment.Drawing for Many Hands Sunday Workshop workshop

exhibition

on view
Oct 3, 2026–Feb 14, 2027

Martin Bartlett

Begin Anywhere

A detailed black-and-white image featuring a complex network of black circles connected by thin lines. The circles vary in size and density, creating a scattered pattern across the page. On the left side, there are musical notations and symbols. The overall composition has a grid-like structure with some vertical and horizontal markers, which provides a sense of organization amidst the complexity of connections.
Related Programs —Luke Fowler's ELECTRO-PYTHAGORAS (A Portrait of Martin Bartlett) Screening and Performance screeningJustin Devries and Owen Underhill on Martin Bartlett talkA silhouetted figure, wearing a cap and glasses, is engaged in adjusting a sound synthesizer with visible wires and blinking lights. In the background, there are empty chairs and a microphone stand in a softly lit room with hanging speakers and equipment.Ooga Mooga: Songs from Martin Matt Rogalsky Performs Martin Bartlett performanceClose-up of a synthesizer interface featuring various control knobs and input/output jacks. The panel includes labeled sections for "Control Inputs," "Control Voltage Outputs," and "Parameter Articulation," with adjustable knobs for pitch, timbre, index, level, and filter settings. Below, there are metal plates with numbered labels arranged in rows. The surface is made of wood, providing a warm contrast to the metallic components.Kiran Bhumber, Robyn Jacob, Andromeda Monk, Justin Devries Composers in Residence residencyThe image is split into two sections. On the left, there is a close-up of an array of vintage electronic audio equipment featuring numerous black knobs, yellow and red jacks, and labels for functionality. On the right, there is a colorful fabric featuring repeated text that reads "WILD DOUBLER" in blue and yellow with dollar signs, set against a brown background.Fall Exhibitions Opening Reception event
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Programming

performance

past
Oct 21, 2026, 7:00 PM

Madeleine Elkins Trio

Three individuals pose for a photo against a tiled wall. On the left is a man with curly hair wearing glasses and a blue patterned shirt. In the center is a woman with wavy hair, wearing a black polka dot top and a green skirt, smiling at the camera. On the right is a man with a beard, wearing dark sunglasses and a green shirt, with his arms crossed.

Music on the Mountain

workshop

on view
Oct 25, 2026, 1:00 PM–4:00 PM

Drawing for Many Hands

Sunday Workshop

Two hands are using charcoal to create abstract, swirling lines on a large piece of brown paper. The hands are positioned close together, one holding a piece of charcoal near the paper's surface. The background shows a blurred array of colorful objects, suggesting a creative environment.

workshop

upcoming
Oct 29, 2026, 5:00 PM–8:00 PM

Teen Hangout

A tabletop scene featuring several hands engaged in an art project. There are multiple sheets of illustrated paper, scissors, a smartphone, and snack wrappers scattered across the table. A wooden stand holds three cups, and various colored papers, scissors, and markers are also visible. The background is softly lit, creating a casual and creative atmosphere.

talk

upcoming
Oct 31, 2026, 2:00 PM

Justin Devries and Owen Underhill on Martin Bartlett

screening

upcoming
Nov 9, 2026, 6:00 PM

Luke Fowler's ELECTRO-PYTHAGORAS (A Portrait of Martin Bartlett)

Screening and Performance

residency

on view
Oct 3, 2026–Feb 14, 2027

Kiran Bhumber, Robyn Jacob, Andromeda Monk, Justin Devries

Close-up of a synthesizer interface featuring various control knobs and input/output jacks. The panel includes labeled sections for "Control Inputs," "Control Voltage Outputs," and "Parameter Articulation," with adjustable knobs for pitch, timbre, index, level, and filter settings. Below, there are metal plates with numbered labels arranged in rows. The surface is made of wood, providing a warm contrast to the metallic components.

Composers in Residence

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From the SFU Art Collection

SFU Collection

Perspective

Salish Weave Collection of George and Christiane Smyth

A collection of wooden pencils arranged in two rows, with a decorative central piece featuring embossed abstract designs. The pencils have pointed tips, with some colored in a reddish hue, framed by a dark wooden casing around the decorative insert. The background is plain white, emphasizing the colorful and textured elements.
View SFU Art Collection

Collection Highlights

Civilization is a Crime Scene

A black-and-white artwork featuring a collage of various illustrated scenes and text boxes. The images depict urban environments, figures, and abstract shapes, with a mixture of detailed line drawings and graphic elements. Textual elements provide commentary or context, occupying various sections throughout the composition. The piece is framed, emphasizing its structured layout and contrasting visuals.

A.S. Matta, Civilization is a Crime Scene, 2005, lithograph on paper. SFU Art Collection. Gift of SFU Anti-Colonialism Society, 2005.

Dale Northey

Forest B.C.

A colorful impressionist painting depicts a forest scene with tall trees in varying shades of brown and green. The ground is covered in vibrant foliage, with hints of yellow and orange. A twisted, grayish-brown tree root is prominently featured in the foreground. The artwork is framed in a light-colored, textured frame with a small plaque at the bottom.

Arthur Lismer, Forest B.C, 1961, oil on wood. SFU Art Collection. Gift of the Estate of George and Ida Halpern, 1990

Blaine Campbell Photography

Energy Alignment Sculpture: Pyramid in the Golden Section

A large blue pyramid-shaped climbing structure sits on a gravel-lined square in a grassy park. The background features tall green trees and a blue sky with some clouds. The area is relatively empty, emphasizing the unique structure.

Bridge Beardslee, Energy Alignment Sculpture: Pyramid in the Golden Section, 1976, steel and paint. SFU Art Collection. Gift of Ian Davidson, 1977.

ECU Photography

Untitled [The Solar System]

A vertical arrangement of two images on a textured white background. The top image features a dark background with a blue celestial body and a bright light, resembling an eclipse or planetary view. The bottom image depicts several stylized hands in varying positions, rendered in soft tones with subtle detailing. A circular embossing mark is visible in the lower left corner, and the artist's signature is located near the bottom right.

Carl Beam, Untitled (The Solar System), 1998, transfer paper, watercolour, gouache, graphite, oil pencil. SFU Art Collection. Gift of the Rosen Group, 1999. 

Gibson Art Museum

parable of the artichoke

The image features a collage of large text phrases in varying shades of yellow and gray, with the word "MORE" prominently displayed in the center. Surrounding this text is smaller, handwritten-style writing that includes detailed information likely related to the subject of the larger letters. The background is a plain off-white, enhancing the contrast with the colored text.

Corita Kent, parable of the artichoke, 1964, serigraph on paper. SFU Art Collection. Purchase, 1970. 

Rachel Topham Photography

[Negative #1] Adam/Eve

Two large, abstract black wall panels are mounted on a textured concrete wall. Each panel features a smooth, curved shape that reflects light subtly, creating a sense of depth. The panels are positioned closely together, with one featuring a more pronounced curve than the other. A small label can be seen at the bottom right of the left panel.

D’arcy Henderson, [Negative #1] Adam/Eve, 1969, fiberglass. SFU Art Collection. Purchase, 1970.

Dale Northey

Guardian II

A close-up of a stone sculpture featuring a geometric face design, with prominent eyes and abstract features. The sculpture has a textured surface and a weathered green-blue patina, positioned on a square base. The background is blurred, suggesting an outdoor setting with additional architectural elements.

Eliza Mayhew, Guardian II, 1963, bronze. SFU Art Collection. Gift of the Rothmans of Pall Mall Canada Ltd., 1967. 

Dale Northey

Mariposa T.T. #3

A colorful illustration of a bicycle in profile, featuring a bright green frame and yellow rims with red spokes. The handlebars are equipped with brown tape grips. The background is a vivid orange wash, creating a dynamic contrast with the bicycle. The artist's signature and date are visible in the bottom corner.

Greg Curnoe, Mariposa T.T. #3, 1978, watercolour on paper. SFU Art Collection. Gift of Edward Gibson, 2008. 

Gibson Art Museum

Altered Repro Hockey Game Yellowhorse

A vintage newspaper article titled "WEEKEND SPORTS REVIEW" from The Vancouver Sun, dated December 30, 1974. The image depicts a chaotic scene from an NHL hockey game, with players sprawled on the ice, some falling over Vancouver goalie Gary Smith. Various figures and hockey equipment are shown in motion, emphasizing the excitement of the game, surrounded by a crowd in the background. The image has some paint applied, obscuring parts of the original photograph.

Jack Shadbolt, Altered Repro Hockey Game Yellowhorse, 1974, acrylic on newspaper. SFU Art Collection. Gift of the Estate of Jack and Doris Shadbolt, 2010. 

Victor Ballesteros

December Birds

A colorful abstract artwork featuring two large bird-like shapes in vibrant hues of red, blue, green, and yellow. The background displays a gradient sky transitioning from blue to brown and features a stylized green-topped mountain. Various shapes and colors overlap at the bottom, suggesting a landscape.

Jack Shadbolt, December Birds, 1983, serigraph on paper. SFU Art Collection. Gift of the Shadbolt Estate, 2008.

Victor Ballesteros

Yellow Span

Abstract painting featuring bold colors, primarily yellows, blues, and purples. The composition includes dynamic shapes and sweeping lines, with a prominent yellow silhouette intersecting various dark and light backgrounds. Splashes of red and white add contrast, creating an energetic and vibrant visual effect. The artist's signature and date appear in the lower right corner.

Jack Shadbolt, Yellow Span, 1991, acrylic on canvas. SFU Art Collection. Gift of the Doris Shadbolt Estate, 2006.

Victor Ballesteros

Frog Constellation

A large wooden sculpture featuring two stylized figures sitting on a stylized animal. The figures have exaggerated facial features, with oversized eyes, wide mouths, and distinctive head adornments. They hold small objects resembling frogs. The sculpture is displayed against a textured concrete wall and is in a bright, modern space with large windows.

Jim Hart, Frog Constellation, c.1988-2005, red cedar, paint, wire. SFU Bill Reid Collection. 

Dale Northey

Transit

A large abstract painting mounted on a white wall, featuring horizontal bands of blue and yellow, intersected by geometric lines. The artwork has a wooden frame and is illuminated, adding depth to the colors. A small label with information about the artwork is visible to the right.

Joan Balzar, Transit 68, 1968, acrylic on canvas. SFU Art Collection. Gift of Rosemary B.H.  Hoare, 1988. 

ECU Photography

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