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 SharmanMirrors 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.

Curatorial Cocktails

Curatorial Cocktails: Curator Talk with Rodney Sharman — Apr 4, 6 pm

On April 4 we bring our Mirrors exhibition to a close with Curatorial Cocktails featuring our exhibition curator, Rodney Sharman. Join us for an informal chat at the gallery, where Rodney will give his unique insights into the paintings of both Michael Morris and Dion Smith-Dokkie: how these particular works are unusual for both artists and how each responds to queer issues of their time.

To celebrate this event we’ll be serving specially curated cocktails, available by donation, made by our very own mixologist-in-residence, Tabitha McIntyre!

For the art collectors out there, this will also be an opportunity to purchase works by both Michael Morris and Dion Smith-Dokkie. For price lists and more information, please reach out directly to SUM gallery director Mark Takeshi McGregor: mark@queerartsfestival.com.

This artist talk is free to attend but registration is required as space is limited.

Unsavoury Witness — Alejandro A. Barbosa

Apr 16 – Jun 6, 2025

Unsavoury Witness is a photo-based installation that includes laser-engraved photographs, photographic murals, intermedia, print media, and court transcripts from the Supreme Court of British Columbia on the 2001 murder of Aaron Webster in Stanley Park. This immersive exhibition foregrounds homophobia’s intimate connections with public spaces, institutionalised systems, societal responses, queer bodies, and desire.

Alejandro A. Barbosa combines photography and excerpt with placemaking to conceptualise pause as an agency of justice. By working from official documents and media archives surrounding a pivotal case in the history of homophobic violence in Canada, they complicate the certainties of queer pleasure and integrate the inconsistencies of justice when prejudice, silence, and risk intersect desire. Within the safety of SUM gallery, the exhibition is crafted as a diorama where artist and viewer intersect the public figure of the witness toward a queer ethics of memorialisation. Unsavoury Witness is Alejandro A. Barbosa’s debut solo presentation in Canada, their first with SUM gallery, and is curated by long-time mentor Patryk Stasieczek.

Unsavoury Witness is generously supported by The Parachute Fund and the Deux Mille Foundation. This exhibition is part of the 2025 Capture Photography Festival Selected Exhibition Program.

Register for the opening reception here:

ABOUT ALEJANDRO A. BARBOSA

Alejandro A. Barbosa (they/he) is a 2SLGBTQIA+ latinx visual artist and curator born in Argentina who lives and works on the unceded, traditional and ancestral territories of the Coast Salish peoples—the Musqueam, Squamish, and Tsleil-Waututh Nations. Alejandro’s practice focuses on lens-based media and investigates the flaws of representation, queer lived experience, and the politics of looking.  Alejandro holds an MFA in visual art from the University of British Columbia, and a BFA in photography from Concordia University. They work as a Sessional Lecturer at the University of British Columbia and Non-regular Faculty at Emily Carr University of Art + Design. Their work has been exhibited and collected in Canada, Argentina, Peru, and the United States.

ABOUT PATRYK STASIECZEK

Patryk Stasieczek is a Polish Canadian 2SLGBTQIA+ visual artist and curator currently working as an Assistant Professor of Photography at NSCAD University. Patryk’s practice explores photography as an embodied, interdisciplinary queering of image histories, actions, and materials. Their research is informed by their investment in pedagogy and delves into the emergent conditions of photography and the physical relationships images create as forms of experiential knowledge. Patryk’s work as an artist and curator has been featured in collaboration with the Pensacola Museum of Art (USA), Peripheral Review (CA), Centre Clark (CA), Libby Leshgold Gallery (CA), and the Magenta Foundation (CA).

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.