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Pale Fire



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Exhibitions

2026
Reave Dennison: Tree Work Judith Williams: WATER / COLOUR
2025
Shayne Weston Abbott-Arcan et al: Nocturne
2024
Graham Landin: Tight Span Sergio Suárez: Aphelion Janine Dunn: cover the taken bone Maru Aponte: Salt Stains
2023
Tania Willard: Sensitized Nicole Ondre: Primes Robin Arseneault & Maura Doyle: IODAME Michael Drebert: Fresh Eyes
2022
Graham Landin: Triangle Beach

Artists
Maru Aponte
  • Graham Landin
  • Nicole Ondre
  • Tania Willard

    •
    Pale Fire
    They/ Them, 2024, 66" × 69.5" / 167.5cm × 176.5cm. Watercolour and gouache on canvas. Chapuzón de cielos naranjitos (Splash of orange skies), 2024, 66" × 69.5" / 167.5cm × 176.5cm. Watercolour and gouache on canvas. Tinto de verano (Summer red), 2024, 48” x 60" / 122cm × 152.5cm. Watercolour and gouache on canvas. Verde Tahití, 2023, 41” x 55”/ 100cm x 140cm. Watercolour on canvas. Light in August, 2024, 48" x 60" / 12cm x 150cm. Watercolour on canvas. Looking for Turtles, 2024, 84"x 72"/ 210cm x 180cm. Watercolour on canvas. Salt Stains, 2024, 72" x 84" / 180cm x 210cm. Watercolour on canvas. Maru Aponte, Las Islas, 2023, 84" x 72’ / 210cm x 180cm. Watercolour on canvas. Veronica, 2023. 37.5" x 103" / 95.25cm x 262cm. Watercolour on paper, Twin waterfalls, 2022, 162" x 24"/ 412cm x 61cm. Watercolour on paper. Red Beach, 2023, 12.5” x 10” / 32cm x 25.5cm. Watercolour on paper, pink mahogany frame. “Palmera Real”, 2023, 12.5" x 10" / 32cm x 25.5cm. Watercolour on paper, pink mahogany frame. Silver Sun, 2024, 4.5” x 8”/ 11.4cm x 20.3cm. Watercolour on paper, pink mahogany frame. Pink Tides, 2024, 6” x 8” / 15.2cm x 20.3cm. Watercolour on paper, pink mahogany frame.


    Maru Aponte


    Bio


    Maru Aponte is a Puerto Rican artist working in Canada and the USA. Her practice explores the ecological, cultural and psychological aspects of water. New paintings begin in Puerto Rico, where she sketches en plein air on small scraps of paper. In her studio she scales up details of these images, highlighting the saturated colour and vivid light that the island expresses. Her recent installation The Sea is a House (2025), which was created and presented at the Art Gallery of Ontario in Toronto, explores memory as a water-based phenomenon.

    Aponte graduated with an MFA from Emily Carr University of Art and Design in Vancouver, BC (2023) and a BFA from the Royal Academy of Fine Arts in Antwerp (2021). She recently completed residencies at the Art Gallery of Ontario, Toronto (2025); Skowhegan School of Painting & Sculpture, Madison, ME (2024); and Griffin Art Projects, North Vancouver, BC (2023).

    Exhibitions


    Salt Stains, 2024

    Available Works

    Press


    Khadra Ahmed, “Maru Aponte on Pushing the Boundaries of Watercolour” . Foyer, May 8, 2025.

    Rhys Edwards, “The Earthen Ocean: Maru Aponte at Pale Fire” for Peripheral Review

    Available Work


    Viewing Room

    TBT (Root Rhizome), 2025, 19.75" x 39.25" x 12.5”. Western Red Cedar, 2025. Commission for Stüssy New York. TBT (Dandelion), 2025, 21" x40" x 12.5”. Western Red Cedar. Commission for Stüssy New York. Synthetic Man, 2025, 13.75" x 11" x 5.5”. Granite and Red Cedar. Commission for Stüssy New York. TbT (S), 2025, 12" x 10.25" x 7”. Green Aventurine (quartzite). Commission for Stüssy New York. Filly & Colt, 2024, Filly 66”x90”x23”, Colt 63”x86”x24”. Red cedar. Filly & Colt, 2024. Colt (detail), 2024. Colt (detail), 2024. Graham Landin, Pavilion Stool 5, 2024, 18”x15.5”x18”. Red cedar. Graham Landin, Pavilion Stool 5, 2024, 18”x15.5”x18”. Red cedar. Graham Lanin, Pavilion Stool 6, 2024, 18”x15.5”x16”. Red cedar. Graham Landin, Pavilion Stool 6, 2024, 18”x15.5”x16”. Red cedar. Seal Bay Sleeper, 2023, 115 sq ft (interior), 330 sq ft (exterior). Red and yellow cedar, Arbutus, Douglas fir. Seal Bay Sleeper (interior view looking northeast), 2023. Seal Bay Sleeper (interior view looking east), 2023. Bather: Tuesday, October 31, 2023 at 7:07 PM49.65460° N, 124.11331° W, 2023, 87” x 20” x 14”. Red cedar. Bather: Tuesday, October 31, 2023 at 7:07 PM49.65460° N, 124.11331° W, 2023, 87” x 20” x 14”. Red cedar. Bather: Tuesday, October 31, 2023 at 7:07 PM49.65460° N, 124.11331° W (detail), 2023, 87” x 20” x 14”. Red cedar. Bather: Tuesday, October 31, 2023 at 7:07 PM49.65460° N, 124.11331° W (detail), 2023, 87” x 20” x 14”. Red cedar. Plowland, 2021, 67 1/2” x 49 1/2” x 3 1/2”. Red cedar, boom boards, miniature liquor bottle, sterile glass vile. Intertidal Topography, 2021, 57” x 45” x 2”. Driftwood, beach glass, foam, hardware, polymer modified plaster. Labyrinth, 2021, 48” x 35 1/4” x 2 1/4”. Red cedar, enamel paint. Fraser River Flotsam, 2021, 24 1/2” x 17 3/4” x 1”. Driftwood, flip flops, fishing float, plastic bottle, beach glass, bumblebee, snail shell, bird shit, polymer modified plaster. They Who Separate Night and Day (I), 2022, 123 1/2” x 12” x 12”. Red cedar. Troglodyte Tower, 2022, 66” x 15” x 16”. Red cedar. Magic Touch, 2021, 65” x 12” x 12”. Red cedar.


    Graham Landin


    Bio


    Graham Landin (b. 1982) is a visual artist and carpenter who lives and works in Richmond, BC. Drawing influence from classical antiquity, off-grid culture, folk art and a variety of modernisms, Landin makes pavilions, sculptures, furniture objects and wall reliefs. Since relocating his studio to agricultural land in 2018, he has employed a chainsaw to work swiftly at the scale of the human body. His work has been exhibited in Canada and the United States, and he has created over thirty sculptures for Stüssy International’s flagship stores.

    Exhibitions
    Tania Willard, Oregon Grape Poem #1, 2019. 29.5”x 22”, Oregon grape berry pigment, paper. Oregon Grape Poem #2, 2019. 29.5”x 22”, Oregon grape berry pigment, paper. Tania Willard, Oregon Grape Poem #3, 2019. 29.5”x 22”, Oregon grape berry pigment, paper. Tania Willard, Oregon Grape Poem #4, 2019. 29.5”x 22”, Oregon grape berry pigment, paper. Tania Willard, Future Prayers, 2023. 60”x 64”, Cyanotype of tobacco leaves, paper, synthetic sinew. Tania Willard, Ranch Rhubarb, 2023. 29”x 22”, Cyanotype on paper. Tania Willard, Cedar Root Basket Composition, 2023. 29”x 22”, Cyanotype on paper. Tania Willard, Attestation, 2023. 48”x 20”, Cyanotype and laser etching on wood panel, satin ribbon, re ective nylon rope. Tania Willard, Heart wood/ Sap wood, 2023. 46”x 24”, Laser etching on garnet sandpaper on wood panel, survey tape, satin ribbon. Tania Willard, Carriers, 2023. 45”x 48”x 48”, Acrylic panel, plastic bin, nylon re ective rope, birchbark, cedar root, cyanotype on sheep rawhide, wenéx and sesép anthotype on paper, leather (materials variable).


    Tania Willard


    Bio


    Tania Willard’s practice activates connection to land, culture, and family, centring art as an Indigenous resurgent act though collaborative projects such as BUSH Gallery and support of language revitalisation in Secwépemc communities. She is the Director of the Morris and Helen Belkin Gallery, University of British Columbia.

    Willard’s recent solo exhibitions include Photolithics (2026) at the Polygon Gallery in Vancouver; Practices of Suffusion (2024) at the Southern Alberta Art Gallery in Lethbridge; and Sensitized (2023) at Pale Fire in Vancouver. Her work is featured in rememory (2025) the 25th Edition of the Biennale of Sydney; Soundings:An Exhibition in Five Parts (2019–25), at Agnes Etherington Art Centre, Queens University in Kingston, the Walter Phillips Gallery, Banff Centre, 516 Arts in Albuquerque, et.al; and Ceremony (Burial of an Undead World) (2022) at HKW, Berlin.

    Her artworks are included in the collections of the Vancouver Art Gallery, Morris and Helen Belkin Gallery, Forge Project, Kamloops Art Gallery, and the Anchorage Museum, among others.

    She is the winner of the 2025 Sobey Art Award, Canada’s highest honour for contemporary artists. In 2022 she was named a Forge Project Fellow for her land-based, community-engaged artistic practice. In 2020, the Shadbolt Foundation awarded her their VIVA Award for outstanding achievement and commitment in her art practice; and In 2016, she received the Hnatyshyn Foundation’s Award for Curatorial Excellence in Contemporary Art.

    Willard’s independent curatorial work includes, Exposure: Native Art and Political Ecology co-curated with Dr. Kóan Jeff Baysa, Satomi Igarashi, Erin Vink, and Manuela Well-Off-Man at the IAIA Museum of Contemporary Native Arts in Santa Fe (2022-ongoing); Nanitch: Early Photographs of British Columbia from the Langmann Collection, co-curated with Heather Caverhill and Helga Pakasaar at Presentation House Gallery (now The Polygon Gallery) in North Vancouver (2016); and Beat Nation: Hip Hop and Indigenous Culture, co-curated with Skeena Reece at grunt gallery online,  which became the major touring exhibition Beat Nation: Art, Hip Hop and Aboriginal Culture, co-curated with Kathleen Ritter at the Vancouver Art Gallery (2012–2014).


    Exhibitions

    Intra, 2023. 30” x 8” x 4”, Glazed ceramic inserted into wall. Intra (detail), 2023. 11₅₀₉ 2023, 34”x 6”x 3”. Glazed ceramic. 11₅₀₉ (detail), 2023. 7₃, 2024, 15”x 5”x 5.5”. Glazed ceramic. 9₁₁ 2023, 38”x 6.5”x 3”. Glazed ceramic. 8₁₃, 2024, 12”x 6”x 4.5”. Glazed ceramic. 9₄₉, 2023, 32"x10"x4". Glazed ceramic. Impeller, 2024, 12”x 8”x 2”. Glazed ceramic. 9₂₁, 2024. 6₁ 2023, 4”x 19”x 4”. Underglaze on ceramic. 8₁₇ 2023, 32”x 18.5”x 4”. Glazed ceramic. 8₁₇ (detail), 2023.

    Nicole Ondre


    Bio


    Nicole Ondre (b. 1986) draws inspiration from knots as practical tools, expressive forms, and mathematical objects. Her work in ceramic sculpture contemplates underlying structures in the material world. Recent solo exhibitions include Torsion (2024) at Tanya Leighton Gallery, Berlin; Heatwork (2023) at Tanya Leighton Gallery, Los Angeles; and Pirl (2022) at CSA Space, Vancouver. Ondre’s work was included in the two-person exhibition The Eyes Have Walls (2020) with Mina Totino at the West Vancouver Art Museum. Other group exhibitions include As Blue As Devotion (2024) at Two Seven Two Gallery in Toronto; And down below the earth shown bright (2023) at ILY2, Portland; and  Heart View Knot Bird (2022) at Tanya Leighton Gallery, Los Angeles. Since 2010, Ondre has also worked collaboratively with Vanessa Disler as Feminist Land Art Retreat. She is also represented by Tanya Leighton Gallery.


    CV

    Exhibitions


    Primes, 2023


    Available Work


    Viewing Room

    Sergio Suarez


    Bio

    Sergio Suárez (b. 1995) is a Mexican-born, Atlanta-based visual artist and printmaker. His practice is informed by baroque intricacy, theological iconography and traces of Mesoamerican material cultures. Suárez’s forthcoming solo exhibitions will be presented at Casa Wabi Sabino, Mexico City; Sargent's Daughters, New York City; and MoCA GA, Atlanta. His recent solo exhibitions were at KDR305, Miami, FL; Stove Works, Chattanooga, TN; THE END Project Space and Whitespace Gallery, Atlanta, GA. Suárez attended the Skowhegan School of Painting and Sculpture, ME; and has held residencies at The Penland School of Craft, NC; The Hambidge Center, Rabun Gap, GA; The Bemis Center, Omaha, NE; and the Studio Artist Program at Atlanta Contemporary, GA. He is a recipient of a 2024 Working Artist Project Fellowship at MoCA GA and a 2024 Artadia Atlanta prize. 

    CV

    Exhibitions


    Aphelion, 2024

    Fountain (ed. 2 of 3), 2023, 69.5” x 48” x 2”. Woodcut on muslin over panel. Fountain (detail), 2023. Conduit (ed. 1 of 3), 2024, 48” x 44” x 2”. Woodcut on muslin over panel. Conduit (detail), 2024. To shelter what is precious, to yield what is valuable, and to dispose of what is harmful (state edition), 2024, 72” x 96” x 2” (composed of 2 panels). Woodcut on muslin over panel. To shelter what is precious... (detail), 2024. To shelter what is precious... (detail), 2024. To shelter what is precious... (detail), 2024. A Being of Many Beings (ed. 2 of 3), 2024, 49” x 40” x 2”. Woodcut on muslin over panel. A Being of Many Beings (detail), 2024. Para un alma eterna cada piedra es un altar (For an eternal soul every stone is an alter)(ed.1 of 6), 2024, 12" x 15" x 3/4". Woodcut on muslin over panel. Para un alma eterna cada piedra es un altar (For an eternal soul every stone is an alter)(detail), 2024. Silver 3D printed flame, 2024, 20” x 7” x 2.5”. 3D printed plastic, spray paint. Silver 3D printed flame, 2024, White gold lustre sphere with interior bell, 2024, 4.5” x 4.5” x 4.5”. Ceramic with gold lustre, bell. Large black glazed ceramic hand, 2024, 6.5” x 8” x 9”. Glazed ceramic. Large black glazed ceramic hand, 2024. Black glazed ceramic vessel with star points, 2024, 2” x 6.5” x 6.5”. Glazed ceramic.




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