Painted Lives & Shifting Landscapes showcases the artwork of Vancouver painter, printmaker and muralist Richard Tetrault. Tetrault’s work explores universal themes of the figure and the urban landscape.

Highly personalized and idiosyncratic, yet public places of mourning and memory, roadside shrines invite us to ask questions about their meaning and provenance. Sometimes referred to as Roadside Death Memorials, or RDMs, structures or installations of this kind have become commonplace in many parts of North America and elsewhere. The media plays significant attention to the RDM phenomenon and there are scholarly studies which focus on the social, legal, cultural, and psychological interpretations of their meaning. Folklorists, in particular, have struggled to understand RDMs in the context of widespread secularism. Unlike cemeteries, roadside shrines elude the religious ceremonial practices with which mourning was formerly imbued.

Whether considering the simplicity of a butterfly in flight or the terror of a cancer diagnosis, Heidi Greco confronts the world head-on, yet always with the fresh eyes of the stranger in our midst. The issues she addresses belong to the world; the settings she employs are international.

News coverage of the fall of Baghdad and its aftermath were the inspiration for Ravenna Gets, especially the smaller stories of people being killed suddenly in their homes in the middle of otherwise normal days. Each story in Ravenna begins as any novel might, but abruptly loses the luxury of becoming a novel through a seemingly random and violent intrusion from beyond the world established by the story. The effect is intended to be that of the experience of war as the sudden end of stories, rather than being a war story itself. This destabilizing ‘pinch’ seeps into the consciousness of some of the stories, but not as a consciousness of events, but rather as nightmarish bends in experience and perception.
Ravenna Gets could probably be classified as speculative fiction, influenced by J.G. Ballard, and, though experimental in spirit, it employs strong conventional storytelling techniques.

Reading the Riot Act is a popular history that rereads and rewrites the legacy of riots in Vancouver. The project was conceived following the city’s Stanley Cup riots in 1994, when official reports and media coverage differed significantly from eyewitness accounts. Later, media reports on the APEC riots downplayed and obscured certain facets of the conflict.

Red Mango is a one-man play about a “single celibate sensualist” who constantly thinks about women—though not for sex, but for sweaty joy and sensual contact on the booming dance floors of Victoria’s blues clubs.

Burnham's poetry works at the edges of meaning, propriety, and the commodification of language. Combining elements of found text—the overheard, the over-read—he recasts his findings in various combinations that are unique to their presentation on the page. The essentials of language, how people use it—and how it uses them—is Burnham's main concern.

The Revolving City: 51 Poems and the Stories Behind Them is a vibrant and diverse collection from a who’s who of the west coast poetry scene.

Never before have as many outrageous and out-sized characters appeared in one place at the same time. Words like rogues, rascals, rapscallions, reprobates and rodomontades don’t completely describe these individuals; they are more than each or any combination thereof. They are scalawags.

A Room in the City presents Gasztonyi’s five-year project of photographing the residents of the Cobalt, Balmoral, Regent, and Sunrise Hotels in Vancouver’s Downtown Eastside, the poorest postal code in the country. They are represented in private moments, with respect and dignity—in their rooms and on the streets—as they wish to be seen. Gasztonyi’s style continues in the great documentation tradition of Anders Petersen and Josef Koudelka, the photographer of the Roma.