The Simon Fraser University Art Collection is a public collection of nearly 6,000 works, over 1,000 of which are installed within university buildings and public spaces across the Burnaby, Vancouver, and Surrey campuses.

A bright, minimalist art gallery interior with white wooden walls and a light floor. Various framed artworks, including paintings and photographs, are displayed on the walls. A small set of white stairs leads to a raised area, while a dark sculpture is positioned on a pedestal in the foreground. The space is open and well-lit, creating an inviting atmosphere.

Fourteen works from the SFU Art Collection on display at SFU Gallery, Burnaby, as part of Samuel Roy-Bois exhibition Not a new world, just an old trick. Installation view, SFU Gallery, 2013.

The Collection’s holdings were established soon after the University’s founding in 1965 with the commission of two tile mosaics by Gordon Smith, and have grown to encompass a diverse range of work from the last and current centuries, with particular strengths in painting, photography, prints, and sculpture by British Columbia artists such as Rebecca Belmore, B.C. Binning, Lorna Brown, Emily Carr, Robert Davidson, Gathie Falk, Carole Itter, Roy Kiyooka, Germaine Koh, Ken Lum, Susan Point, bill Reid, Samuel Roy-Bois, Jack Shadbolt, Jeff Wall and Jin-me Yoon; and Canadian and America modern and contemporary artists including Marcel Barbeau, Jack Bush, Corita Kent, Rita Letendre, Robert Morris and Jean Paul Riopelle.

The SFU Art Collection is an invaluable resource for study and exhibition. It is unique in its capacity to trace the complex social and cultural life connected to this region and remains open to new inquiries.

Salish Weave Collection of George and Christiane Smyth

Based in Lekwungen territory, Christiane and the late George Smyth have been solely collecting Coast Salish works of art since 2003. Considering themselves “activist collectors,” they have built their collection with the intention of promoting awareness of Coast Salish artistic practices and providing direct support to both established and emergent artists through purchases and special commissions.

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.

Dylan Thomas, Weavers and Wool, 2020, glass, red cedar and paint. SFU Art Collection. Gift of the Salish Weave Collection of George and Christiane Smyth, 2022.

Indigenous Curriculum Resource Centre Coast Salish Weaving Commission

The Indigenous Curriculum Resource Centre (ICRC) assists the SFU teaching community with Indigenizing and decolonizing their curriculum. Existing as an online resource since 2020, the ICRC will launch in a new physical space in January 2024 on the fourth floor of the WAC Bennett Library on SFU’s Burnaby campus.

Commissioned weavings in the Indigenous Curriculum Resource Centre. Installation documentation, W.A.C. Bennett Library, SFU Burnaby, 2023.

SFU Collection

Perspective

Jack Shadbolt Collection

An abstract painting featuring vibrant colors such as reds, yellows, greens, and blues. The composition is divided horizontally, with a band of blue in the center resembling water, reflecting the surrounding warm tones above and below. The brush strokes are textured, adding a sense of depth and movement to the overall piece.

Jack Shadbolt, Untitled, 1963, acrylic on paper. SFU Art Collection. Gift of the estate of Phyllis Mailing, 2005.

Victor Ballesteros

Recent Acquisitions

Every House I’ve Ever Lived In (Drawn From Memory)

A minimalist artwork featuring a delicate line drawing of a three-dimensional structure, centered on a blank, white background. The drawing is enclosed in a light wooden frame, highlighting its simplicity and emphasizing the intricate geometric forms depicted.

Alex Morrison, Every House I’ve Ever Lived In (Drawn From Memory) Johnson St. Victoria 1989, 2001. Pencil on paper. SFU Art Collection. Gift of Richard J. Balfour, 2024.

Atomic Fountain

An abstract artwork featuring a black background with various geometric shapes in vibrant colours, including red triangles, a blue rectangle, a yellow semi-circle, and a green square. The shapes are outlined in white and arranged in an asymmetrical composition, with horizontal and vertical lines guiding the viewer's eye. The title "Atomic Fountain" and the artist's name, "B.C. Binning," are written in white at the top and bottom corners.

Bertram Charles Binning, Atomic Fountain, 1953 [1994], serigraph on paper, printer’s proof, first edition. SFU Art Collection. Gift of Joan and Leon Tuey, 2023.

Rachel Topham Photography

Sea Drift II and Sea Drift III

An abstract painting featuring a dynamic mix of dark hues, with swirling blacks, reds, greens, and hints of light colors. The composition includes bold brush strokes and layered textures, creating a sense of movement and depth. Areas of contrast suggest fluid shapes and forms, evoking an emotional response.

Gordon Smith, Sea Drift II 1989. Acrylic on canvas. SFU Art Collection. Gift of Joan and Leon Tuey, 2023.

Rachel Topham Photography

who claims abstraction? studies

An abstract artwork featuring vertical stripes in colors like blue, green, orange, and brown. Overlaid on the stripes are large, curved shapes with defined outlines, adding depth and contrast to the composition. The background has a gradient effect, enhancing the vividness of the colors.

Francisco-Fernando Granados, who claims abstraction? study 2, 2023, digital print on paper. SFU Art Collection. Gift of the Artist, 2023.

Rachel Topham Photography

Untitled (Geometric abstractions in red, blue, and yellow)

A black and white photograph features a distorted outline of a figure with multiple arms drawn in neon yellow. The figure is placed over an abstract background that includes a textured surface and draped fabric. The image is mounted on a white mat and displayed against a light blue wall.

Jo Cook, Untitled (Geometric abstractions in yellow), n.d. Gouache on photograph. SFU Art Collection. Gifts of Wesley Mulvin, 2024.

Rachel Topham Photography

Compacted Trash

A large, filled garbage bag is shown, made of translucent blue plastic, tied securely at the top. The bag contains various items, some of which are slightly visible through the plastic. The background is a light, neutral color, emphasizing the bag in the center of the image.

Kelly Wood, Compacted Trash, 2000. C-print. SFU Art Collection. Gift of Richard J. Balfour, 2024.

Bail

A layered, translucent sculpture showcasing a figure in a dynamic pose, appearing to skate or glide. The sculpture is primarily bright neon orange with accents of pink, creating a vibrant and eye-catching effect. The layers are intricately detailed, allowing light to pass through and highlighting the contours of the figure against a soft, neutral background.

Khan Lee, Bail, 2015, laser-cut plexiglass. SFU Art Collection. Gift of Coleen and Howard Nemtin, 2024.

Rachel Topham Photography

Hello!!!

A handwritten note on lined paper, featuring colorful text and a simple drawing of a red flower. The message expresses feelings of boredom and confusion about a relationship, asking for advice on romantic interests. Phrases are highlighted in pink and blue, with some words written in green and yellow. The note concludes with the phrase "nice flower hey!" below the drawing. The overall tone is informal and emotional.

Kyla Mallett, Hello!!!, 2004. LightJet print. SFU Art Collection. Gift of Coleen and Howard Nemtin, 2024.

Rachel Topham Photography

Crise

A stylized portrait of a face against a pink background. The face is predominantly black with thick, white lines creating texture and features. Large, oval eyes with pink irises and a white outline dominate the upper portion, while the mouth is depicted with three horizontal lines, suggesting lips, with a reddish-brown color. The overall composition combines bold colors and abstract forms.

Lyse Lemieux, Crise J1, 2011, ink, acrylic, and gouache on paper. SFU Art Collection. Gift of Ken Stephens, 2023.

Rachel Topham Photography

Domestic Space/Time Travel

A collection of various pottery items is displayed on a white table against a light gray background. The items include a grater, several bottles labeled for different substances (such as olive oil and sea salt), jars, a bowl with a spoon, plates, and small figurines. The pieces vary in shape and size, with some featuring detailed labels and embellishments. The overall arrangement is organized and showcases the artistic craftsmanship of the ceramic objects.

Maura Doyle, Domestic Space/Time Travel, 2012. Stoneware with underglaze. SFU Art Collection. Gift of the Artist, 2024.

Rachel Topham Photography

Proposed Layout for M.D. (Mark Dion)

A book cover featuring a collage of contrasting elements: a white architectural model of a building is overlaid on a chaotic scene of litter and discarded items, including colorful trash bags and cardboard boxes. Two birds are perched above the mess, and the title "PHAIDON" is displayed at the bottom. The background is a neutral wall.

Paul de Guzman, Proposed Layout for M.D. (Mark Dion), 2001, paper. SFU Art Collection. Gift of Robert Sherwood Thill in honor of L.A. Angelmaker's Dear History Correspondence, 2024.

Rachel Topham Photography

Kwagulth Sisiutl Hunter

A circular artwork featuring intricate designs inspired by indigenous art. The central composition showcases a stylized figure with animal motifs, prominently featuring bold black, red, and green colors against a cream background. The outer edge is bordered in dark, enhancing the overall contrast. The artist's signature and a title are included at the bottom.

Tom D. Hunt, Kwagulth Sisiutl Hunter, 1993. Screenprint on paper, edition A.P. 6/20.  SFU Art Collection. Gift of Gwynne Roseborough MEd., 2024.

Rachel Topham Photography