Saturday, September 1, 2018


1 September 2018 to 30 September 2018
Reception for the artist Thursday 27 September 2018, 6-9pm

Curated by Christopher Brayshaw

CSA Space is pleased to present a selection of recent color photographs by Long Beach-based photographer Mark Ruwedel, drawn from two recent sequences, Crossings, and Fort Irwin, that depict US desert landscapes marked by signs of photographic surveillance; economic migration; and ongoing military conflict.

Ruwedel's works have recently appeared at the Tate Modern, UK; Vancouver Art Gallery; Ryerson Image Center, Toronto ON; National Gallery of Canada, Ottawa ON; and Denver Art Museum, Denver CO.

Mark Ruwedel is represented by Gallery Luisotti, Santa Monica; Yossi Milo Gallery, NYC, Olga Korper Gallery, Toronto; and Art 45, Montreal.

Friday, February 16, 2018

Tom Burrows & Bernadette Phan: THREADS

22 February 2018 through 30 March 2018
Opening reception Thursday 22 February 2018, 6-9pm

Tom Burrows is represented by Bau-Xi Gallery

“a dense mat of threads which completely hides the animal”

Painting, weaving and layering set the foundations for the dialogue between Tom Burrows and Bernadette Phan, whose bodies of work often involve processes of accumulation, be it the slow buildup of marks or layering of resin. This exhibition offers a peek at new directions for both artists.

For the past few years, Tom Burrows has been working in Jingdezhen, a city with a history of producing pottery for over 1700 years. In a discourse between ceramics and his ongoing exploration of cast resin, Tom creates colour fields that probe the surface and textures of both polymers and porcelain. “Bethune,” glazed porcelain, is a nod to Doctor Norman Bethune’s dedication to battle-field surgery in the struggle against fascism.

Bernadette Phan's work often negotiates the pictorial plane using patterns such as ovoids, grids and fields of colour. With "Béance", Bernadette revisits her painting practice through textile. The woven surface echoes the stippling of paint on her canvases  and the pace generated in the making. Alongside its colourful siblings, "Béance" envelops and contains, hanging loosely between painting and sculpture.  

Monday, January 1, 2018


5 January 2018 through 15 February 2018
Opening reception Thursday 4 January 2018, 6-9pm

Curated by Christopher Brayshaw

Thursday, October 19, 2017

Michael Drebert, Amy Gogarty and Demian Petryshyn: CARRIERS

26 October - 17 December 2017
Curated by Allison Hrabliuk
Reception for the artists and curator Thursday 26 October 2017, 6-9pm

These three artists spend their time responding to where they find themselves. Through daily walks around East Vancouver, Amy Gogarty interjects herself directly into the city landscape, painting en plein air to create an archive of her changing neighbourhood on clay pots. Demian Petryshyn goes inward, to his apartment, where he expands space through the minutia of natural aquarium cultivation. Michael Drebert finds himself at the beach, where the sea and the city meet, and has been writing about his daily encounters of the two.

This exhibition presents their recorded discoveries in clay, watercolour, and writing, humanizing our encounters with the built structures and detritus of the city.
Michael Drebert will read from his writings Cormorant, during the exhibition opening at 7:00 pm.

Image: Amy Gogarty, China Creek North, Looking North and East, 2017, cone mid-fire stoneware, glaze, underglaze, 11" x 8 3/4"

Thursday, August 10, 2017


10 August extended through 1 October 2017
Opening reception Thursday 10 August, 6-9pm

Curated by Steven Tong

When we see, we see codes

On August 10th, CSA Space will be presenting a solo exhibition by Graeme Wahn, Recent & Selected Works (Wing Nut). This exhibition sees Graeme maintaining a photographic work ethic aimed to re-present a vision of material worlds through conventions of photographic seeing.

The exhibition features around fifteen individual works - modestly sized colour photographs set within wooden frames & compositions. The works are handmade, and their meager tactility is likened to imprecise spaces depicted within the images. It’s if you see things flat, and look at a lot of level surfaces. There are also signs, and with scrawls, different marked paper and how it sits square - and then, in the same way, it also gets tightened too, because it reads itself and knows how it forms.

Since graduating from Emily Carr in 2015 Graeme has exhibited at Gallery 295, UNIT/PITT Projects, Flux Gallery in Winnipeg, Penticton Art Gallery, as well as the Vancouver Art Gallery. He continues to live and work in Vancouver and is beginning an MFA at SFU’s School for Contemporary Art in the fall.

Graeme Wahn's website

Tuesday, September 27, 2016

Paul Metrinko: SEASCAPES

29 September through 30 October 2016
Opening reception Thursday 29 September, 6-9pm

Curated by Christopher Brayshaw

Paul Metrinko's website

Tuesday, September 6, 2016


28 August through 27 September 2016 
Opening reception Wednesday 7 September 2016, 6-9pm

Curated by Christopher Brayshaw

Sunday, May 15, 2016

Josh Thorpe & Jeff Tutt: FOR REAL TOADS

5 May 2016 through 5 June 2016
Opening reception Thursday 5 May 2016, 6-9pm
Curated by Steven Tong

A selection of Josh Thorpe's artist books & publications is available downstairs in Pulpfiction Books for the duration of the exhibition.

Tuesday, November 17, 2015

Cornelia Wyngaarden: HEROINES

17 November 2015 through 13 December 2015
Opening reception Tuesday 17 November 2015, 6-9pm
Screening Thursday 19 November 2015, 7pm at the Western Front, 303 E. 8th Avenue

Guest curated by Liz Park

This multi-nodal project celebrates the decades-long contribution of video art pioneer Cornelia Wyngaarden. Her unrelenting commitment to feminism and queer politics often translates to poetic video portraits of female protagonists who defy the male-centric order of their respective milieu. Wyngaarden’s unique voice provides incisive commentary and has been fostering various communities of allies in Vancouver and beyond.

Presented for the first time in over two decades, elements of her past media installation projects The Fragility of Origins (1994) and Apollo’s Kiss/Matricide: An Allegorical Landscape (1991) will be installed at CSA. Initially presented at the UBC Fine Arts Gallery (now the Morris and Helen Belkin Art Gallery), Apollo’s Kiss takes inspiration from Aeschylus’s Oresteia, and in particular, spotlights the fate of the tragic heroine Cassandra, doomed to the gift of prophesy believed by none. The Fragility of Origins was first presented at the Western Front, and featured a five-channel composite of unidentified female bodies in motion, ambiguously torquing as they lay on a sheet of white. Accompanying the installation at CSA is a screening at the Western Front of As a Wife Has a Cow (1985) as a single-channel video that captures the stories told by a female rancher named Keely Moll.

This exhibition is by no means a survey of Wyngaarden’s work, but is a spark that lights up a portion of her activities as an artist. It is also the force that propels a new work in progress by Wyngaarden, a video portrait of a female stevedore. This project will be accompanied by a publication co-edited by Kim Nguyen and Liz Park, to be published in spring 2016 by Artspeak.

Thursday, October 8, 2015


8 October 2015 through 8 November 2015
Opening reception Thursday 8 October 2015, 6-9pm

Curated by Steven Tong

Thursday, September 3, 2015


3 September 2015 through 4 October 2015
Opening reception Thursday 3 September 2015, 6-9pm

Curated by Steven Tong and Christopher Brayshaw

Ron Terada is represented by Catriona Jeffries Gallery

Thursday, July 23, 2015


23 July 2015 through 23 August 2015
Opening reception Thursday 23 July 2015, 6-9pm

Curated by Steffanie Ling

"I watched sailboats go by all afternoon. Aiming my telescope out from the deck to the sea I could make out the names given to the boats: Teorema, Best Case Scenario, Giverny, Summer Wind, X ta Sea...

I thought: The distance from the chin to the shoulder when you are looking down to your left, or your right, is a classical distance. The years between Rembrandt's lion and Thurber's dog—a few lifetimes of drawing cats and dogs—lazy lifetimes. The distance between the telescope's primary mirror and the sailboats: perfect kilometers. My day dreams were pink and then green. The sun was shining, the waves were breaking, and I was painting."

Tristan Unrau received a BFA from Emily Carr University of Art and Design and is currently enrolled in the MFA program at UCLA in Los Angeles.