Karin Jones is a multidisciplinary artist with a background in jewellery. She received a Diploma in Jewellery Art & Design from Vancouver Community College in 1993, before embarking on a twenty-plus year career as a goldsmith and independent artisan. Since 2007, her work has moved away from traditional jewellery and into sculpture and contemporary art. She received an MFA in Craft from NSCAD University (2018), where she began her most recent work dealing with the ways historical narratives shape our sense of identity. She is an instructor and former department head of Jewellery Art & Design at Vancouver Community College. She was longlisted for the 2022 Sobey Art Award and her work is held in the collections of the Royal Ontario Museum, the Vancouver Art Gallery, and the Metal Museum (Memphis).

b. 1973, St. John, NB

Currently based between Takaronto/Toronto, ON, and Tk’emlúps te Secwépemc/Heffley Creek, BC, Holly Ward is an interdisciplinary artist of settler ancestry working with sculpture, multi-media installation, architecture, video and drawing as a means to examine the role of aesthetics in the formation of new social realities. Stemming from research of various visionary practices such as utopian philosophy, science fiction literature, Visionary Architecture, counter-cultural practices and urban planning, her work investigates the arbitrary nature of symbolic designation and the use-value of form in social and subjective contexts. More recently, Ward’s practice seeks to develop artistic engagements with non-human entities and ecological systems in a future-oriented practice focused on sustainability and holistic adaptation to rapidly changing natural and cultural contexts.

From 2009-2010 Ward was the Artist in Residence at Langara College, wherein she commenced The Pavilion project, a 22’ geodesic dome serving as a catalyst for artistic experimentation involving artists, writers, designers and Langara College students. Ward has produced solo exhibitions at Artspeak, the Morris and Helen Belkin Gallery, the Kelowna Art Gallery, Or Gallery, YYZ Gallery, Republic Gallery, Volta 6 Basel, and others. She has participated in group exhibitions in Canada and internationally. Publications include Planned Peasanthood (Kamloops Art Gallery, 2021), Volumes (Blackwoods Gallery, 2015), Every Force Evolves a Form (Artspeak, 2012), and “For Now, on Holly Ward’s Persistence of Vision”, a critical essay in Jeff Derksen’s After Euphoria (JRP Ringier Press, 2013). Her work has been collected by the Vancouver Art Gallery, Fogo Island Arts, and Scotiabank. Public Commissions include Cosmic Chandelier (UniverCity at SFU, Burnaby, 2016) Monument to the Vanquished Peasant (Western Front, Vancouver, 2016), and The Wall (CBC and the Vancouver Heritage Foundation, 2011). Holly is an Associate Professor in York University’s Visual Arts program.

Carel Moiseiwitsch is an artist and social activist from Vancouver. She was born in London where she studied painting at St. Martins Central, moving to Vancouver in the 1980s to teach drawing and comics at Emily Carr College of Art and Design.

Lawrence Paul Yuxweluptun Lets’lo:tseltun (Cowichan/Syilx, b. 1957) is a Vancouver-based visual artist and activist of Cowichan (Hul’q’umi’num Coast Salish) and Okanagan (Syilx) descent. Born in Kamloops, BC, he attended the Kamloops Indian Residential School as a child, but spent most of his adolescence in the Vancouver area. He documents and promotes change in contemporary Indigenous history through his paintings using Coast Salish cosmology, Northwest Coast formal design elements and the western landscape tradition. His work explores political, environmental and cultural issues and his own personal and socio-political experiences enhance this practice of documentation. Yuxweluptun has exhibited nationally and internationally in solo and group shows, including the Belkin’s inaugural 1995 exhibition Lawrence Paul Yuxweluptun: Born to Live and Die on Your Colonialist Reservations, the Museum of Anthropology’s Lawrence Paul Yuxweluptun: Unceded Territories (2016), the National Gallery of Canada’s Sakahán: International Indigenous Art (2013), and the Services Culturels de l’Ambassade du Canada’s Inherent Rights, Vision Rights: Virtual Reality Paintings and Drawings (1993). Yuxweluptun has received numerous awards, including the Vancouver Institute of the Visual Arts (VIVA) Award in 1998 and the Eitelijorg Museum of American Indians and Western Art Fellowship in 2013. His paintings are held in the collections of the Vancouver Art Gallery, the Canadian Museum of Civilization (Gatineau, GC), the Department of Indian and Northern Affairs and the National Gallery of Canada. The name Yuxweluptun was given to the artist during his initiation into the Sxwaixwe Society at age 14 and is Salish for “man of many masks”; the name Lets’lo:tseltun was given to the artist by Sto:lo artist Laura Wee Lay Laq in 2018 and means “man of many colours.”