Jacquelyn Ross

  • Oliver Husain, Isla Santa Maria 3D, 2016, stereoscopic video, color, sound, 17 minutes.
    picks June 09, 2016

    Oliver Husain

    It’s 1893, and a crowd has gathered on the beach. They’re dressed in frumpy Victorian garb, sporting elaborate hats, fans, and binoculars as they look placidly out over the water. These might be the inhabitants of Isla Santa Maria—that mythic island that is said to have formed from the wreckage of a replica of Christopher Columbus’s ship, and which does not appear on any maps—or maybe they’re just out in their Sunday best, hoping to catch a glimpse of utopia. Visitors to the gallery put on 3-D glasses, plucking them from their resting places on an army of comically face-shaped holders. A blue,

  • Alex Morrison, Something Nasty in the Woodshed, 2015, tempera mural, 119 x 63 1/4"
    picks October 19, 2015

    Alex Morrison

    An engraving in the original wooden mantle of the 1909 Tudor-style mansion that is now home to the Burnaby Art Gallery reads, “The ornament of a house is the friends who frequent it.” On the wall above, the Canadian artist Alex Morrison has painted a black tempera mural of a cluster of magic mushrooms, alluding to the Ceperley House’s former life, not as the country home, monastery, or cult center that it also was, but as temporary student residences that played host to many a wild party and sit-in in the 1960s (from which psychedelic graffiti reportedly still remains on its attic walls).


  • View of “Erica Stocking,” 2015.
    picks June 19, 2015

    Erica Stocking

    Boots, slippers, sweaters, skirts . . . Erica Stocking’s latest exhibition is a fashion show of sorts yet confounds in its absence of a model. Instead, unassuming articles of clothing themselves seem to walk, rendering the everyday in a collection of seventeen ghostlike sculptural volumes.

    Suspended stiffly over soft cylindrical plinths, colorful garments are replicated meticulously in painted canvas. It becomes apparent that the show is equally an exhibition of paintings. Stocking’s work continually forces this double take, superimposing a material strangeness onto the familiar. Whether in the