On View at The Gibson

exhibition

on view
Mar 7, 2026–Jun 14, 2026

Maggie Groat

S LOWER F: ACTIVITY BOOK

A grid of 36 colorful square images arranged on a bright yellow background. Each square contains various abstract shapes, lines, and patterns in diverse colors and textures, including geometric forms, stylized natural elements, and graphic motifs. The arrangement is organized into six rows and six columns.
Related Programs —
Spring Exhibition Opening Reception
event
A table with various playing cards and game boxes is set against a wall featuring a colorful mural of plants and patterns. The sunlight casts shadows on the wooden tabletop, highlighting scattered face-up playing cards.
Games Dayat the Gibson
event

exhibition

on view
Mar 7, 2026–Jun 14, 2026

Hannah Rickards

I am the infant and I am the bird 

A hummingbird hovers in front of a window, wings blurred from rapid movement. The background is slightly out of focus, with a light-colored surface reflecting a soft diffused light. The hummingbird’s iridescent feathers and long beak are visible as it appears to search for food.
Related Programs —
Spring Exhibition Opening Reception
event
Siobhan Angus in Conversation with Hannah Rickards
talk
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Programming

event

upcoming
Jul 4, 2026, 2:00 PM–5:00 PM

Summer Exhibition

Opening Reception

exhibition

upcoming
Jul 4, 2026–Sep 15, 2026

Strategies of Assembly

Revel & Revolt in British Columbia

A large crowd gathers outdoors, facing a speaker who stands on an elevated platform. The audience consists of men and women of diverse appearances, appearing engaged and attentive. In the background, there are mountains and a factory emitting smoke. The scene is captured in black and white, conveying a sense of historical significance.

exhibition

upcoming
Jul 4, 2026–Sep 15, 2026

Working Proof

Leslie J. Fawkes, Susan Gransby, Libby Hague, Anna Wong

A monochromatic artwork depicting three silhouetted figures of women standing side by side, each holding a bag. The background features a faint outline of a window or a frame, with a solitary male figure visible in the distance. The overall composition emphasizes the contrast between the dark silhouettes and the lighter background. The piece is signed and numbered at the bottom.

call

on view
Jun 4, 2026–Jul 3, 2026

Call for Applications

Cosmic Commons Artist Residency

workshop

on view
May 2, 2026–Jun 14, 2026

Open Studio Saturdays

A flat lay of a crafting workspace featuring two collages: one depicts colored pencils in a container and the other shows cut-out cloud shapes on a blue background. Surrounding the collages are containers filled with colorful paper scraps, a bottle of school glue, a pair of scissors, and a pencil, all set on a brown paper surface.

special project

on view
Sep 20, 2025–Jun 14, 2026

Common Threads Press

Publisher-in-Residence

A flat lay image featuring two books: "Stitching Freedom" by Isabella Rosner with a colorful embroidered design on the cover, and "Stitching the Intifada" by Rachel Dedman with a green cover and red decorative elements. Surrounding the books are several spools of thread in various colors, including red, yellow, green, and gray, along with a thimble and a wooden spool. The background is a light textured fabric.
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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

Recent Acquisitions

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. 

SFU Galleries

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. 

SFU Galleries

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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