Public Art Artist Calls, Workshops, Events and More
Are you interested in finding out about future Public Art Artist Calls, workshops, and events? Please contact firstname.lastname@example.org to join the Public Art list to receive future communications.
Stepping Stones and Take Root Community Celebration
Friday, August 17, 2018 7:00–9:00 p.m.
City Centre Community Centre
5900 Minoru Blvd.
Multi-Purpose Room 2
Join City Centre Community Association and the City of Richmond Public Art Program for a FREE community gathering to celebrate the completion of two public art projects: Stepping Stones by Nadine Flagel and Deirdre Pinnock, and Take Root by Laara Cerman.Visitors are invited to view the artworks and attend a presentation by the artists.Children under the age of 13 years old must be accompanied by an adult. Light Refreshments served.
Temporary Public Art Installation
Aug 9 - 30, 2018: City Hall Plaza
Aug 31 - Sept 1, 2018: World Fest
Sept 4 - Oct, 1, 2018: City Hall Plaza and Richmond Cultural Centre Plaza
Meander by artist-designers Becki Chan and Milos Begovic was commissioned by the City of Richmond Public Art Program to commemorate Canada’s 150th anniversary of Confederation. These unique blue modular seating units are designed to activate public spaces and support the City’s annual major events and outdoor public programs.
Evoking the qualities of water, through shape and colour, the design is inspired by the Fraser River’s winding paths that define Lulu Island and the Fraser Delta. The seating units can be used in many configurations to create audience and informal seating areas.
Art Columns: Exhibit 12 - Migration
Installed July 2018
Exhibition Statement: The exhibition is the accumulation of a Public Art mentoring project for emerging Richmond-based visual artists who had the opportunity to collaborate with professional artists, Evan Lee and Renée Van Halm.
This exhibition invites artists to consider the theme of migration through a broad lens of inquiry. Migration” as it relates to human settlement. People have always moved around the world, traveling in search of food, shelter, and safety. Sometimes migration is necessary, in the case of natural disasters and sometimes voluntary for people looking for better employment opportunities. This exhibition invites artists to consider the stories, traditions and beliefs people bring to new places that inform identity and home.
Lansdowne Canada Line Station
Artist: Evan Lee
Title of Artwork: Double Meaningless
Description: Four digital prints installed on No. 3 Road Art Columns (Landsdowne)
Artist Statement: Double Meaningless is a project made in response to the ongoing debate about foreign language only signage in Richmond. English text resembling foreign writing designed with novelty fonts to be illegible until close inspection spells out the need to see language as a force to unite rather than one that divides.
Artist: Crystal Ho
Title of Artwork: The Journey
Description: As the five enlarged photographic forms of lotus roots and beetroots flow between the four art panels, they record the progressive identity changes in an immigrant. The grey text along with the bloody red beet juice connects the different stages of the transformation, signifying the complication and hardship in the process.
Artist Statement: Migrating from one place to another has never been an easy or simple decision. The transformative journey requires a remarkable amount of courage in order for one to take on a new identity. For this piece of work, I have used the idea of 'root and food' as the visual metaphor for the change in identity during migration. No matter how far we travel to, our origin will always have a place in our hearts. It is our root which makes us who we are.
Like an anchor, the root of a plant holds tightly onto Mother Earth in order to absorb the nutrients for it to grow. Similarly, food is one of our human expressions for cultural identity. Immigrants bring their cuisine to places abroad and cook traditional food there in order to preserve their motherland's culture.
I chose the lotus root and the beetroot as the subject not only because they are fitting to the idea of 'root and food', but also because they are both the taproot portion of a plant. While the beetroot has been widely used in Western cuisine; the lotus root is a common traditional ingredient in Asia. However, interestingly enough, they are rarely found in each other’s culture.
This series of large-scale, minimalist photographs is visually seductive and engaging. It is my hope the work can influence the viewer’s appreciation for the beauty and the struggles from their own migration journey and to recognize and reflect on the changing identity during migration - how one holds onto his or her origin and adapt to a new identity, all at the same time.
Aberdeen Canada Line Station
Artist: Chad Wong
Title of Artwork: Ma Fan Cafe (Trouble Cafe)
Description: Ma Fan is a text based piece consisting of four panels alluding to menus seen in most Hong Kong Cafes. The first panel of this piece is the name of the fictional restaurant; corralled by two graphics of a hand holding an amalgamation of chopsticks and spoons, it is a parody to the clipart often seen in these menus. The second and third panels are transliterations of menu items from Chinese to English and English to Chinese. The final panel is a graphical interpretation of a hybrid Hong Kong-Vancouver skyline with a ‘flock’ of ‘spoonsticks’ emulating migrating geese
Artist Statement: Ma Fan seeks to explore the identity of the second generation immigrant through the combination of food and language. Besides being prevailing landmarks of the Richmond cultural fabric, I chose to use the menus of Hong Kong style cafes because the food they serve are often a hybrid of western and Asian (more specifically Hong Kong Chinese) tastes. It represents a breaking down of cultural barriers through cuisine; a fundamental understanding of one another without nuances or minutia. Conversely, language can be both precise and vague; something poorly translated can lead to hilarity and or misunderstandings. Transliteration on the other hand is direct and eliminates these potential confusions as it deals purely with the phonetics of the words. Meaning is no longer lost in translation as it is not at all translated, yet it is inherently meaningless without its original counterpart. It is this internal and structural conflict between translation and transliteration that I want to use to examine the fragmentation of identity experienced by second generation immigrants and the (in)ability to consolidate the two worlds they inhabit. The only way to truly understand this menu is to understand both languages. Through this project, I intend to bring attention to the importance of cultural cohabitation and the growing chasm between the English-speaking and the Chinese-speaking communities within Richmond.
Musqueam Artist Opportunity
The Richmond Public Art Program and the Richmond Public Library are inviting four Musqueam artists to share a Musqueam origin myth or foundational story to be illustrated through a series of hands-on workshops using traditional Musqueam art forms. The project will encourage cross-cultural exchange and learning of Musqueam culture.
Four selected artists will each be paid $1,500 for 3 workshops. A materials budget of up to $500 will be available for each artist. Artist will submit receipts to be reimbursed for material expenses.
This opportunity is for Musqueam artists only. The deadline to apply is September 3, 2018.
Capture Photography Festival on the Canada Line
April - September 2018
Capture Photography Festival is an annual celebration of photography and lens-based art throughout Metro Vancouver. Capture Festival on the Canada Line in Richmond are presented in partnership with the Richmond Art Gallery, Canada Line, Capture Festival, and the City of Richmond Public Art Program.
Bridgeport Canada Line Station
Title of Artwork: Perimeter
These two works from the Perimeter series explore Vancouver’s shared border with Richmond, along the natural boundary formed by the Fraser River. Captured in proximity to Bridgeport Station where they are now installed, the works show details of these landscapes: the log booms that have displaced salmon runs in the Fraser River in Vancouver Transit Centre, 3.3.13, and the greenway behind a luxury golf course in Fraser River Trail, 9.3.13.
Over the last 200 years, this site has been rapidly transformed, from an Indigenous-managed estuarine environment and settlement to an industrial working river, now turned toward leisure and luxury accommodation.
Aberdeen Canada Line Station
Artist: Karilynn Ming Ho
Title of Artwork: Mirror Flower, Water Moon
Karilynn Ming Ho’s alluring installation Mirror Flower, Water Moon utilizes deceptive technologies. The work is derived from universal adversarial perturbations (UAPs), textures and algorithmic vectors meant to disarm, confuse, and deceive artificial intelligence. Artificial intelligence (AI) from self-driving cars to robot cashiers is predicated on being intelligent enough to identify, with 85–100 percent accuracy, an object or image that is placed in front of it. However, when these disarming patterns and algorithms are placed in front of the object or image, it causes the AI system to misrecognize what it is looking at.
In this case, the UAP pattern is obscuring a particular species of orchids whose reproductive success is based on its own deceptive behaviour. The orchids mimic female pollinators, such as bees and wasps, through visual or chemical means to attract male pollinators to help them reproduce. The images on display encounter tactics and technologies that deceive, connecting natural and digital actions just beyond the reach of human perception. The title, Mirror Flower, Water Moon, is from a Chinese proverb that speaks to something that can only be seen, but not grasped—like a flower in a mirror or the reflection of the moon in the water.
Lansdowne Canada Line Station
Artist: Ho Tam
Title of Artwork: Barbershops
Barbershops is a selection of four photographs from HOTAM #7 (2014). This issue presents a socio-visual investigation of barbershops in Manhattan’s Chinatown. Inside this city within a city, there are over 100 hair salons serving Chinese residents and visitors. Installed at Lansdowne Station on No. 3 Road in Richmond, the work connects to the area’s thriving Chinese diaspora community and the rapidly evolving commercial architecture of the site. Vibrant hubs of social and economic exchange in Chinatown, the barbershops Tam presents are key sites for community building, exchange, and identity construction.
Brighouse Canada Line Station
Artist: Marisa Kriangwiwat Holmes
Title of Artwork: Soon
Richmond-based artist Marisa K. Holmes is interested in the culturally inherited power structures within images and their resulting modes of representation. Her artistic practice attempts to highlight the signs and symbols embedded within media. Working with found images as her referents, Holmes’s practice implicates a public’s subjective reception of signifiers within images. Her work also hopes to initiate a discourse concerning mass media exposure within her generation. Considering herself primarily an image assembler, Holmes hopes to highlight the translation “losses” and accomplishments that occur when an image is presented within the public sphere, keeping in mind all contextual circumstances including the historical time of its viewing and the concurrent cultural spheres within the location of its “unveiling.”
Soon seeks conflict with the commercial advertising surrounding it. Both in reference to and disrupting the global clothing brand adverts wallpapered across the glass facades of the station, Holmes’s work initially blends into this environment but quickly confounds its viewer. The work reverberates the cacophonous visual experience of the Canada Line station. The commuter hub is a friction between the daily corporeal experience of getting from A to B and the brash attack of lifestyle propaganda and marketing. Holmes uses found elements, corporate colour palettes, snap photographs, and industrial textures in the production of a photo-based assemblage that presents a raw and bewildering response to the current sociopolitical conditions. The repetitive text “soon – soon – soon” becomes a spiralling chant that reads as both a superficial promise of the new and a reply to the continual feedback loop of our world headed in the wrong direction.