SUM GALLERY

Mirrors — Michael Morris and Dion Smith-Dokkie

Feb 6 – Apr 4, 2025

Mirrors presents a series of watercolour nudes created by Michael Morris during his Berlin residency in the 1980s. Unique in Morris’ predominantly abstract oeuvre, these paintings depict hustlers, artists, and friends, many of them posing in front of a mirror, so that their form could be captured from different angles. Some three dozen nudes, none of which have ever been exhibited publicly, are presented alongside six newly commissioned paintings — “reflections” on Morris’ work — by West Moberly First Nations artist Dion Smith-Dokkie. Curated by Rodney Sharman, Mirrors reflects on how the queer community’s relationship with AIDS has changed over the last forty years while highlighting the myriad issues that younger queer people continue to face today. Morris’ nudes, painted daily during the height of the AIDS crisis, create a body of overtly queer expression that is sensual, colourful, and safe, a private reflection of community at a time when queer people were very much villainized. By contrast, Smith-Dokkie’s works turn the viewer’s gaze upon himself: these nude self-portraits, situated in the bedroom or the bathhouse, are a sensuous, intimate, and vulnerable departure from the artist’s otherwise abstract body of work.

Join us for the opening reception on February 6, from 6 – 9pm, where both Smith-Dokkie and Sharman will be in attendance. SUM gallery is grateful for the time, guidance, and generosity of Michael Morris’ longtime partner, Rahmi Emin, as well as the support of the Parachute Foundation, the Audain Foundation, the Deux Mille Foundation, and the BC Arts Council.

ABOUT MICHAEL MORRIS

Michael Morris (1942–2022), a pioneering abstract painter and printmaker, made enduring contributions to film, photography, video, installation, and performance. Achieving international acclaim early, he helped shape Vancouver’s 1960s art scene and is celebrated for his collaborative practice and versatility as an artist, curator, and cultural leader. In 1970, Morris co-founded Image Bank with Vincent Trasov, a conceptual platform for mail art projects involving figures like Eric Metcalfe and General Idea. He later co-founded the Western Front Society, an artist-run centre for new art across disciplines. Morris passed away in Victoria, BC, on November 18, 2022, at age 80.

ABOUT DION SMITH-DOKKIE

Dion Smith-Dokkie (he/they) lives and works between northeast BC and Vancouver. A painter by trade, he is interested in topics like location and place, infrastructure, communication, and the body. This body of work marks a return to figuration and easel painting, in the wake of Michael Morris and in response to his watercolour nudes. Dion holds an MFA from the University of British Columbia. Recent shows include The Inaugural Lind Biennial at the Polygon Gallery, Land Breaths at the Art Gallery of Grande Prairie, and it hides in the light at The Bows in Calgary. Artistic philandering aside, Dion is a shy gay man and a member of West Moberly First Nations.

ABOUT RODNEY SHARMAN

Rodney Sharman, curator, is an internationally acclaimed composer, performer, educator, and arts advocate based on Musqueam territory in Vancouver. Currently the Victoria Symphony’s Composer-Mentor-in-Residence, he has held residencies with Early Music Vancouver, the Victoria Symphony, Vancouver Symphony, and the National Youth Orchestra of Canada. Dr. Sharman was President of the Canadian League of Composers (1993–98) and the Canadian Section of the International Society for Contemporary Music (1991–95), returning in 2016 to support Vancouver’s World New Music Days. He has served as President of the ISCM’s Canadian Section since 2019, continuing a career dedicated to championing contemporary music and fostering artistic collaboration.

SUM AiR—January 2025

Jan 7 – 31, 2025

SUM-AiR is excited to announce January’s artist residency. Paige Bowman (@birdfingersss), Soren Dyck (@taliruq), Addison Finch (@zebrafiinches), Jamie Lauder (@mxlauder), Liam Murley (@liam.lovelock) and Dee Twentee (@dees20stitches) will be using this residency to create work for a group exhibition at the SUM Gallery in the fall of 2025. Each artist will be creating work in response to their individual relationship to gender as non-binary, gender non-conforming and trans artists.

Through this residency + subsequent exhibition the group aims to not only shed light on these important issues, but also to celebrate the diversity of gender identity within us all.

ñ (enye)—ilvs strauss

Nov 19 – 29, 2024

ñ (enye) is a multimedia bilingual installation / listening party by ilvs strauss (ilvs pronounced “elvis”). Visitors are asked to bring their ears for a guided journey through a labyrinth of intentional sound, audible and otherwise. Along the way, we’ll flip through the catalog of basic human needs and delve into an inquiry re: the advent of language, amongst other things. Ultimately, ñ (enye) raises the questions: What is it we hear? What is it we want to hear?

This exhibition also features strauss’ illustrated zine, “everything i heard over the course of my day all at once,” which was the original inspiration for her installation.

Join us at SUM gallery on Nov 19 for the opening reception of a new multimedia bilingual installation by ilvs strauss.

ABOUT ILVS STRAUSS

From a sociodemographic standpoint, I am a 45 year old educated, queer, mixed-race, white-passing, female bodied, Honduran-American artist. From a non-sociodemographic standpoint, I’m still those things, but manifest in 3D by the ethereal: experience, values, judgement, desire, need, love, motivation, inspiration, etc. The list goes on, but for now I’ll focus on the last three.

I love language and how it relates to the body.

I love surtitles, subtitles, and translation studies.

I love blurring the line between technician and performer.

I love the science and philosophy of sound – What is sound even? What are the effects of sound on our body, in our minds? How do our bodies/brains receive and interpret sound?

I’m motivated by considerations of accessibility – the show I am working on relies heavily on projected text, it is a lot to ask of an audience, to read for a sustained amount of time. How can I change the work to become accessible to those of different vision/hearing levels while maintaining the spirit and integrity of the piece?

The physics of sound inspires me. Sound is not a singular tiny object that travels along a wavy line from Point A to Point B. It is vibration – not a thing at all. Something (a voice, the slamming shut of a book, bird song) makes a molecule vibrate, which in turn makes the adjacent molecules vibrate, etc. A chain reaction radiating out in 3D. This has been a vital paradigm shift for me, a shift from thinking of singular entities on solo journeys to communities of entities vibrating in an iterative process.

I’m inspired to stop calling my ‘solo’ show a ‘solo’ show, for there is absolutely nothing I have done or will do that does not require the help/contribution/support/assistance of another.

Sacred Sacrilegious—Sujit Vaidya

Dec 3 – 13, 2024

SUM gallery brings 2024 to a close with Sacred Sacrilegious, a film by bharatanatyam-trained dancer and choreographer Sujit Vaidya, with videographer Robert Kingsbury and sound designer Parmela Attariwala.

Sacred Sacrilegious is a 40-minute film that explores the body as an offering to the five elements in accordance with Hindu philosophy (Earth, Water, Fire, Air and Space). It is an abstraction of ideas that are placed through the body as moving landscapes. With his collaborators, Kingsbury and Attariwala, Vaidya has created virtual worlds for the body to inhabit an idea or a feeling through a series of visuals, each visual carrying something deeper within it. The viewer’s gaze is invited to stand on the edge of the visuals and make their own relationships with what’s being offered. “Sacred” and “Sacrilege” are offered as invitations to the viewer’s gaze.

On Dec. 3 at 7pm SUM gallery hosts a free public screening and Vancouver premiere of Sacred Sacrilegious, with Vaidya, Attariwala and Kingsbury in attendance, kicking off a ten-day mini-exhibition.

Film duration: 41 minutes

Note: Sacred Sacrilegious contains partial nudity.

Choreography/ Concept: Sujit Vaidya

Dancer: Sujit Vaidya

Videography and Editing: Robert Kingsbury

Sound Design: Parmela Attariwala

Outside Eye: Lee Su-Feh

Sacred Sacrilegious was made possible thanks to the support of the Canada Council for the Arts and Anandam Dance Theatre.

Sacred Sacrilegious runs at SUM gallery Dec. 3 – 13.

SUM gallery hours: Tuesday – Saturday, noon – 6pm.

ABOUT SUJIT VAIDYA

sujitvaidya.ca

My dance training is in a “traditional” dance form from India, called bharatanatyam. However, my way of engaging with the form is to situate my queerness within the rootedness of tradition and intergenerational knowledge. Some curiosities/ ideas I engage with around Body, Eroticism, Gaze, Queer shame, Queer intimacy and Stillness have been showing up in my work consistently. Slowing down movement and reclaiming/ re- aligning gaze around virtuosity through a non- Eurocentric lens interests me. I like to give the viewer the agency of meaning making. I’m not interested in putting across literal ideas. I like to sense and sculpt spaces for my audience’s imagination to inhabit. Rest, leisure, intimacy, stillness, gaze and erotic body are some themes I have explored in Sacred Sacrilegious.

“Traditional” bharatanatyam as practiced and performed today, is a practice of privileged able bodied persons from caste and class hierarchies. It caters to an Eurocentric gaze, with emphasis placed on physical virtuosity. My attempt in my works, including Sacred Sacrilegious, is to dismantle this gaze by using prolonged, sometimes uncomfortable silences to bring attention to the moment and invite ways of being present inside of it. – SV

FOREST / FLUX / FREQUENCY—Rafael Zen + Khalil Alomar

Nov 7 – 16, 2024

FOREST / FLUX / FREQUENCY is both a multimedia installation + sound performance. First, conceptually and fantastically – it is a conversation between an old tree + a cyber-bug through experimental electronic music, sound performance, hauntology, and eco-dreaming; then, materially, as an exploration of art fields that interest artists Rafael Zen and Khalil Alomar – multispecies collaboration (combining the sounds of humans + nature : birds > bugs > waves > wind), speculative environmental composition (by imagining a future when nature can only be accessed through screens and projections), and improvisational sound art (live performance of the speculative soundscape of an electro-forest).

The opening reception takes place on November 7, from 7 – 9pm, with Zen and Alomar performing live in the gallery. FOREST / FLUX / FREQUENCY runs at SUM gallery, Tuesday to Saturday from noon – 6pm, until November 16, 2024.

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ABOUT THE ARTISTS

RAFAEL ZEN /// The world is in convulsion, and so are we.* Rafael Zen is a queer and fiery Brazilian-Canadian multimedia artist and sound performer, currently living on the land of the Coast Salish peoples – Squamish, Tsleil-Waututh, and Musqueam. There, he researches intersections between new media, performance, and environmental hauntology/speculative environmental composition/performance mediated with/through technology. In colonially-called Vancouver, he organizes Durations, an independent sound art and video art festival that offers an open stage for emerging artists exploring the fields of new media, sound, video art, and live performance. Academically, he holds a Master’s degree in Visual Arts – Contemporary Artistic Processes, where he researches anti-colonial and anti-capitalist poetic practices, and political counterattacks through contemporary art. Currently, he is researching New Media and Sound Art at Emily Carr University.

*Brazilian theorist Suely Rolnik (Spheres of Insurrection / 2017).

KHALIL ALOMAR /// Khalil Alomar is a queer Lebanese-Canadian artist whose creative practice primarily revolves around sound art, multimedia installation, and performance. He works through anti-colonial, anti-capitalist, and anti-establishment theory and practice. Currently, he is pursuing a degree in New Media and Sound Art at Emily Carr University. Alomar lives in the unceded territories of the xwməθkwəy̓ əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Selíl̓witulh (Tsleil-Waututh) Nations. His recent practice is centered on sound, video/paper collage, and photography as mediums that provide a platform for critiquing systemic aggressions and abuse.

FOREST / FLUX / FREQUENCY: Sound Performance
November 16, 2-4 pm

Join us at SUM gallery for the final day of our exhibition, FOREST / FLUX/ FREQUENCY by Khalil Alomar and Rafael Zen, for a special performance by the artists. This free, improvisational sound-based performance evokes an electro-forest in a future when nature can only be accessed through screens and projections

Saturday, November 16 at 2pm

SUM gallery (#425 – 268 Keefer St.)

Go Home Yuppie Scum—Preston Buffalo

Apr 11 – Jun 6, 2024

Taking its title from graffiti that appeared on empty/sold Vancouver houses and lots in the 1980s as part of the local anti-gentrification movement, Go Home Yuppie Scum is an irreverent take on the “Welcome to Vancouver” View-Master reels popular in the 1960s to 1980s, which featured 3D images of Vancouver landmarks as a means of enticing tourists to visit.

By making use of vintage View-Masters and modern stereoscopic viewers stationed around the interior of SUM gallery, Buffalo creates a series of stereoscopic reels that showcase the city from a very different perspective: crumbling, graffiti-adorned structures in the Downtown Eastside, disused rail lines, and thickets of overgrown flora, all eerily devoid of inhabitants. Buffalo applies infrared filters to much of his photographic work, transforming familiar Vancouver scenes into vibrant alien landscapes. The result is a series of urban snapshots that subvert the stereotypical “Beautiful British Columbia” postcard tropes by presenting quasi-dystopian scenes that are unsettling, otherworldly, and beautiful.

This exhibition is part of the 2024 Capture Photography Festival Selected Exhibition Program.

Preston Buffalo, a Two-Spirited Cree artist originally from Treaty 6 Territory, currently resides in the unceded Coast Salish Territories of British Columbia. His interdisciplinary practice involves the exploration of personal Indigenous iconography and symbolism, utilizing photography, alternative photo processes, and digital illustration. Motivated by the challenges faced by Indigenous communities, Preston’s work touches upon themes such as mental health, cultural and linguistic loss due to displacement, the impact of the residential school system, and the process of assimilation. His overall objective is to create visual expressions that encourage new perspectives on Indigenous art, emphasizing its significance in contemporary society and its contribution to an ongoing dialogue.

A Generosity of Abundance—Valérie d. Walker and Jack Page

Feb 22 – Apr 5, 2024
OPENING RECEPTION: FEB 22, 6 to 8 pm
PERFORMANCE by JACK PAGE & THEO BLUE: MAR 16, 2 pm

As our community navigates a world of unprecedented environmental and political upheaval – all transpiring against the backdrop of a lingering pandemic –Transmedia Fibres-rooted artist and Indigo Griot Valérie d. Walker has responded by transforming SUM gallery into a sanctuary of Queer Joy: a place where “Queer reality is infused with self love and the power of environmental transformation.” Walker, whose work is shaped and informed by her African Diasporic, Scottish, Japanese, and Indigenous Hawaiian heritage, has envisioned A Generosity of Abundance as an immersive exploration of the restorative power of Water. Finding inspiration in the metaphysical transformations caused by traversing a Labyrinth, Walker’s large-scale indigo-dyed fibre pieces invite the viewer to explore and flow along an uninterrupted sensorial path towards meditative and therapeutic relief, much like water’s uncanny ability to seek out a path of least resistance; while fibre-art sculpture/installations create interior “indigo refuges”.

In keeping with the spirit of Queer, joyous transformation, on March 16 the exhibition expands to include the work of Vancouver artist Jack Page, whose practice encompasses illustration, altered book art, papermaking, printmaking, photography, musical performance art, and Dis/Ability, Mad/Neurodiverse and 2SLGBTQIA+ community-based projects. His multimedia triptych, Flowers for MeToo, speaks to how all genders experience gender violence, especially trans and nonbinary people, using gold leaf to mark the healing body as divine and flowers as a form of healing and transforming trauma. Like Walker, who is well known for her enviro-conscious dye work, Page’s material art practice focuses on minimizing waste by incorporating used, natural, and foraged materials, and upcycling waste products, such as paper and medical waste.

Running from February 22 to April 5, A Generosity of Abundance spans two key events in the QTBIPOC calendar: Black History Month (February) and International Transgender Day of Visibility (March 31). To this end, the exhibition is punctuated by an opening reception on Thursday, February 22, from 6 – 8pm and a musical performance piece by Jack Page and guitarist Theo Blue on Saturday, March 16 at 2pm.

Join artist Valérie d. Walker for a discussion with April Sumter-Freitag and Addena Sumter-Freitag on Queer Black history in Vancouver.

Join us at SUM gallery on Saturday, March 9 at 2pm for Black Every Day of the Year: a special discussion panel featuring A Generosity of Abundance artists Valérie d. Walker, Addena Sumter-Freitag, and April Sumter-Freitag. As seventh- and eighth-generation Black Canadians, Addena and April Sumter-Freitag hold a special place in Canadian Queer Black art and history; with Walker, they will imagine, joyously laugh, celebrate Historical Black Strathcona, and create Afro-Futuristic visions that extend well beyond Black History Month. The afternoon includes a special screening of April Sumter-Freitag’s short film, Out, Black + Proud in BC, which celebrates its 20th anniversary this year.

A musical performance piece by Jack Page and guitarist Theo Blue, Flowers for MeToo speaks to how all genders experience gender violence.

Join us at SUM gallery on March 16 for a special musical performance by Jack Page and Theo Blue, marking the expansion of our exhibition, A Generosity of Abundance.

As we transition from Black History Month to International Transgender Day of Visibility, our duo exhibition featuring the work of Valérie d. Walker and Jack Page expands to include Page’s beautiful triptych, Flowers for MeToo. We celebrate the arrival of Jack’s work with an in-gallery performance of the song Flowers for MeToo, composed and performed by Jack, with his musical collaborator Theo Blue.

Be among the first to experience the final manifestation of our exhibition and hear this intensely personal performance by Page and Blue.

SD Holman’s Pas-à-pas; not intent on arriving

Pas-à-pas; not intent on arriving

A new photo-based exhibition by SD Holman
The exhibition runs Apr 1 – Jun 2, 2023
SUM gallery open to the public Tue-Sat, 12 to 6pm
Opening reception (artist in attendance): Apr 1, 5 to 7pm
Live musical performances from Rachel Kiyo Iwaasa: Apr 19 at 12pm, May 13 at 5pm, May 19 at 5pm, June 2 at 5pm

Pas-à-pas; not intent on arriving is a new photo-based multidisciplinary meditation on mourning & memory by artist SD Holman, on view at SUM gallery April 1 to June 2. Pas-à-pas; not intent on arriving (pilgrimage variations) derives from Holman’s walk across Canada following the death of their wife, Catherine White Holman. This exhibit engages artist and writer Persimmon Blackbridge, who works with words from Holman’s travel journal; and using Bach’s Goldberg Variations as an organizing principle, Holman collaborates with pianist Rachel Kiyo Iwaasa, who performs at the opening and periodically during the exhibition run.

I needed to walk; walk out my door & keep walking. I don’t like walking. You died in a plane crash. I couldn’t make sense of it. I walked for 3 months / 2700 km. I took a little G11 (not my pro camera or 4×5). I made 8,000 images—99 videos—30,000 words. These are some of them.

There is no arc to this story. I did not come out of it healed.

We all grieve. I later learned that the grieving often go on walking pilgrimages. Walk. Breathe. Think. Don’t think. Circle. Repeat. Step. By step. Try to change the outcome as you move over unfamiliar terrain. Different and the same. No epic Canadian landscapes here, instead tiny human steps cycling endlessly in an intimate vista.
SD Holman

Variations are like a voyage. But … that voyage does not lead through the infinitude of the exterior world … The voyage of variations leads into the other infinitude, into the infinite diversity of the interior world hidden in all things … We know we cannot embrace the universe with its suns and stars. Much more unbearable is to be condemned to lack that other infinitude, that infinitude near at hand, within reach… we all lose in whatever we do, because if it is perfection we are after, we must go to the heart of the matter, and we can never quite reach it… there is nothing more unbearable than lacking the being we loved, those…measures and the interior world of their infinitude of possibilities. —
Milan Kundera

About SD Holman sdholman.com

SD Holman is an award-winning artist and curator born in Hollywood, California. Described as “visionary” by curator/scholar Jonathan Katz, Holman is a graduate of ECUAD Vancouver Canada, laureate of the YWCA Women of Distinction Award, and Founding Artistic Director Emeritus of the multidisciplinary QAF + SUM gallery. Defining as a participant observer employing subjective conceptual documentary practice, Holman’s approach to photography is conflicted and perverse. Holman’s work deals in paradox: the cognitive dissonance between estrangement and recognition, aversion and attraction, harshness and beauty, bravura and restraint, outrageousness and subtlety, expressionism and classicism. Holman embraces Indeterminacy to open artistic practice to the random and radically break from tradition, convention, and habit.

Holman’s work has exhibited internationally including at Wellesley College, Amherst College, CLGA ArQuives (Toronto), the Advocate Gallery (Los Angeles), the Soady-Campbell Gallery (New York), the San Francisco Public Library, On Main Gallery, The Helen Pitt International Gallery, Charles H. Scott, Exposure, Gallery Gachet, the Roundhouse, Vancouver East Cultural Centre, Artropolis, and Fotobase Galleries (Vancouver). Holman’s portrait project BUTCH: Not like the other girls toured North America and is in its second print edition, published by Caitlin Press, Dagger Editions. Studio Q, Holman’s notorious DTES Art Salon in Vancouver’s Chinatown, was featured in Secrets of the City (1st edition).

About Rachel Kiyo Iwaasa iwaasa.com

Hailed in the press as a “keyboard virtuoso and avant-garde muse” (Georgia Straight) whose “emotional intensity” transforms music “from notes on a page to a stunning work of art” (Victoria Times Colonist), RACHEL KIYO IWAASA is recognized among Canada’s foremost contemporary music pianists. Rachel’s reputation for fearless performative risk has drawn many of Canada’s most notable composers to write for her, including Hildegard Westerkamp, Rodney Sharman, Jocelyn Morlock, Nicole Lizée, Farshid Samandari, Emily Doolittle, Jeffrey Ryan and Jordan Nobles. One half of the acclaimed contemporary flute/piano duo Tiresias with Mark Takeshi McGregor, Rachel has also performed with Yannick Nézet-Séguin, Judith Forst, the Bozzini Quartet, Heather Pawsey, Gabriel Kahane, Caroline Shaw, and Richard Reed Parry of Arcade Fire. Rachel’s debut CD, Cosmophony, has been praised as “brilliant” and “unforgettable” (Vancouver Sun) and for “the passion, intensity and the nuanced playing she’s acclaimed for… she manages to instill a sense of dynamic tension and pull to every note” (The Province).

Read the press release for Pas-à-pas; not intent on arriving.

MOTORBIKE/SUPERDYKE

SUM gallery
co-presented in partnership with Vancouver Queer Film Festival
Opening reception: Sat, Aug 13, 7 to 10pm
Installation runs Aug 16 to 20, 12 to 6pm. Daily drop-in zine workshops from 3 to 6pm.

MOTORBIKE/SUPERDYKE is a collaborative multimedia installation by Cheryl Hamilton and lisa g, based on lisa g’s diaries about coming out and sorting through queer stereotypes circa 2000. Illustrations, art prints, an animated film and a zine echo a time and place and reflect upon personal identity politics.

MOTORBIKE/SUPERDYKE animated film trailer

Cheryl Hamilton is a conceptual artist with a penchant for visual ingenuity. She imbues her artwork with a kineticism inspired by her education as an animator at Vancouver’s Emily Carr Institute. She enjoys the process of collaboration and experimentation and tries to remain flexible in approaching mediums preferring the concept to dictate the ingredients. Although Cheryl has been working as a large-scale sculptor (blown glass, stainless steel, cast bronze) she has continually returned to the medium of drawing and painting as it serves as the backbone of her art practice.

lisa g is an artist/filmmaker living on the unceded and stolen territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations. They are interested in work that has historical reference, social relevance & where possible, humour. They work independently, with other artists and within communities. lisa g is a founding member of Vancouver’s Iris Film Collective, which promotes the creation and sharing of analog film and they are the producer/mentor of Our World which supports the creation of Indigenous self directed short films. lisa g’s work screens internationally and has won awards.

Don Kwan: Beyond Exclusion

JUL 28 TO DEC 4: DON KWAN: BEYOND EXCLUSION EXHIBITION
Dr. Sun Yat-Sen Classical Chinese Garden, 578 Carrall St., Vancouver

Beyond Exclusion is Don Kwan’s first solo exhibition in Vancouver. Based in Ottawa, Kwan is a queer third-generation Chinese Canadian artist whose work is influenced by his upbringing in a family-owned restaurant in Ottawa’s Chinatown. He uses mixed media, found objects, and sourced personal text and photographs to explore questions of identity, belonging, and place, reflecting on his family history while weaving intriguing stories about the Chinese Canadian diaspora.

Beyond Exclusion brings together Kwan’s diverse body of work along with new site-specific installations.

Don Kwan: Beyond Exclusion is presented by SUM gallery in collaboration with On Main Gallery and Dr. Sun Yat-Sen Classical Chinese Garden. The exhibition is curated by Debbie Cheung, Mark Takeshi McGregor, and Paul Wong. Don Kwan: Beyond Exclusion is generously funded by the BC Arts Council, City of Vancouver, and Deux Mille Foundation.

ABOUT DON KWAN

What can belonging look like? A third-generation Chinese Canadian, Don Kwan turns to his own experiences and challenges of being a gay, East Asian artist as a way to ground in broader conversations about identity, representations, and intergenerational memory-making in the diaspora.

关日安是一位第三代华裔加拿大同性恋画家。他的作品探索历史长河中的家庭记忆、象征、身份及地点.