Under Construction (August 9th - September 1st, 2025)
featuring the artwork of Bree Castle, Stephanie Gagne,
Sylvan Hamburger, Avery Hannig, and Stephanie Wu
Sylvan Hamburger, Avery Hannig, and Stephanie Wu
Ranger Station Art Gallery, Harrison, BC, Canada
Cave Cave Deux Videt (2025)
glass, metal, oil paint, packing tape, paper, shellac, LED
By layering and incorporating Vancouver, BC’s contemporary cityscape and lost feats by iconic local architects in tandem with Heironomous Bosch’s The Seven Deadly Sins and the Four Last Things, [artwork]*1 attempts to draw parallels and make sense of what has become the city’s approach to cultural and artistic preservation and development. This includes fascinating works by Arthur Erickson, Ned Pratt and B.C. Binning, Cornelia Oberlander, and spaces by other imaginative and innovative individuals and firms.
Despite efforts in preserving a few of these elements from Vancouver’s architectural legacy, most of these buildings have been torn down and/or left unattended due to challenging legal and technical aspects as well as sky rocketing maintenance costs. Even the few modernist icons that survived through time have become more obscured and faded away into the backgrounds of mass produced condo plans and faux tinted glass.
Cave Cave Deux Videt questions the loss of heritage, the public’s alienation to opportunities of exposure, and the cultural impacts at large of lost futures due to neglect and erasure of the past.
glass, metal, oil paint, packing tape, paper, shellac, LED
By layering and incorporating Vancouver, BC’s contemporary cityscape and lost feats by iconic local architects in tandem with Heironomous Bosch’s The Seven Deadly Sins and the Four Last Things, [artwork]*1 attempts to draw parallels and make sense of what has become the city’s approach to cultural and artistic preservation and development. This includes fascinating works by Arthur Erickson, Ned Pratt and B.C. Binning, Cornelia Oberlander, and spaces by other imaginative and innovative individuals and firms.
Despite efforts in preserving a few of these elements from Vancouver’s architectural legacy, most of these buildings have been torn down and/or left unattended due to challenging legal and technical aspects as well as sky rocketing maintenance costs. Even the few modernist icons that survived through time have become more obscured and faded away into the backgrounds of mass produced condo plans and faux tinted glass.
Cave Cave Deux Videt questions the loss of heritage, the public’s alienation to opportunities of exposure, and the cultural impacts at large of lost futures due to neglect and erasure of the past.
Stephanie Wu
Opening: August 17, 2023. 6-11pm
Holland Bank Cheque is a selected body of work that explores the visualisation of the structures of multilingual cognition and communication, particularly in relation to a mixed set of contexts that are not similar to each other.
The works in this series consider research regarding pidgin, creole and mixed language along with narratives of personal, as well as collective experiences, such as bilingual puns, memories and popular culture. Through this process, the works in this collection makes an attempt to investigate topics such as uncertainty in separation of languages (where the bilingual user makes conscious decisions on what to pull from a repertoire of mixed contexts and structures to accommodate for effective communication), the experience or lack thereof from speaking a pidgin language as first language, borrowed words as gifts, second hand experiences, isolation and missing out, the inconvenience of constant monitoring of the self, developing personal languages, and coping with a monolingual environment.
ぽっぷみー (pop me, 2021)
Video, wire, thread, plastics
night view
Video, wire, thread, plastics
night view
ぽっぷみー (pop me, 2021)
Video, wire, thread, plastics
evening view
Video, wire, thread, plastics
evening view
ぽっぷみー (pop me, 2021)
Video, wire, thread, plastics
day view
Video, wire, thread, plastics
day view
Exhibited in Undertain Borders (2021) at Koganei Art Spot Chateau 2F, w/ Yuichiro Nakamura, Kana Iriguchi and Mitsuhiko Sukita.
Cardstock, photographic prints, rubylith, silicone, found objects
2019
2021
and
Youths And The False Prophet
2022
shown at A Group Show 2022 at Sunset Terrace
Plexi-glas, transparent substrate, water, air, light, wood
Photo-courtesy of Avery Hannig
Exhibited during The Show at Emily Carr University of Art + Design
2019
22”x32” bitmapped photograph digitally printed on transparent substrate (left)
39.4”x70.9” untreated canvas stretched on handmade 22”x32” salvage wood frame; acrylic medium; bitmapped photograph exporsed on light sensitive silk screening chemical emulsion (right)
2019
Cyanotype, VanDyke Brown Prints, Acrylic, Canvas
2018
Cyanotype, VanDyke Brown Prints, Acrylic, Canvas
2019
Cyanotype, VanDyke Brown Prints, Acrylic, Canvas
2018
Cyanotype, VanDyke Brown Prints, Acrylic, Canvas
2019
Cyanotype, VanDyke Brown Prints, Acrylic, Canvas
2019
Stephanie Wu/SPRPUPPER
stephaniewu1201@gmail.com
Instagram @sprpupper
stephaniewu1201@gmail.com
Instagram @sprpupper
... is a visual artist whose recent works explore ideas of pseudo-spaces and hyper-realities in relation to translingualism, reflecting upon surrounding objects and systems from in-between spaces of fluidity and its engagements with cultural production. In combination with her education and personal experience, Wu has developed an interdisciplinary practice largely based on re-examining infrastructures and its linguistics. As a result, her background in photography, although still greatly influential, has morphed into a highly fluid practice that include sculpture, multi-media installation, sound, writing and curatorial work.
Wu has completed her BFA at Emily Carr University of Art + Design in 2019, most recent exhibitions include: Under Construction (2025. Ranger Station Art Gallery, Harrison), Holland Bank Cheque (2023. Sunset Terrace, Vancouver), and Uncertain Borders (2021. Chateau Koganei, Tokyo). She is currently based in Vancouver, BC.
Wu has completed her BFA at Emily Carr University of Art + Design in 2019, most recent exhibitions include: Under Construction (2025. Ranger Station Art Gallery, Harrison), Holland Bank Cheque (2023. Sunset Terrace, Vancouver), and Uncertain Borders (2021. Chateau Koganei, Tokyo). She is currently based in Vancouver, BC.
Education
2019
Bachelor of Fine Arts - Photography
Emily Carr University of Art + Design, Vancouver, BC
Bachelor of Fine Arts - Photography
Emily Carr University of Art + Design, Vancouver, BC
Solo Shows
2023
Holland Bank Cheque
Sunset Terrace, Vancouver, BC
2017
YOROI: SOLO EXHIBITION
Huddle Tokyo, Sangenjaya, Setagaya, Tokyo, Japan
Holland Bank Cheque
Sunset Terrace, Vancouver, BC
2017
YOROI: SOLO EXHIBITION
Huddle Tokyo, Sangenjaya, Setagaya, Tokyo, Japan
Group Shows
2025
Under Construction
Ranger Station Art Gallery, Harrison, BC, Canada
2022
A Group Show
Sunset Terrace, Vancouver, BC
Window Art Walk 2022 (Co-curated, co-organized with Yasmine Haiboub)
Vancouver, BC
2021
Uncertain Borders
Koganei Art Spot Chateau 2F , Tokyo, Japan
https://artfullaction.net/gallery-event/?t=1631660486576#googtrans(null)
Yasashii Sekai Poems (Co-curated, co-organized as Yasashii Sekai Collective with Nemoto Wakana and Kanako Iriguchi)
Mailing List
2020
Dark Indépendants
Online, Based in Tokyo, Japan
Disjunct Scintillations (As podcast host interviewing artists)
Vancouver, BC
Artist Instagram Takeover
Ground Floor Art Centre, Instagram
2019
Sonic Celebration
Ground Floor Art Centre, Vancouver, BC
Open Studios at OZHOUSE
OZHOUSE, Ozu, Ehime, Japan
OSA-1/2: Take Solace in Confusion
SPACE, Vancouver, BC, Canada
The Other Show
EatArt, Vancouver, BC, Canada
(not)For Sale
Neighbourhood Gallery, Vancouver, BC, Canada
2018
Dialogues With Photography
Emily Carr University of Art+Design, Vancouver, BC, Canada
Did We Break It
Diffuser Gallery, Vancouver, BC, Canada
2017
ORBIT XIIV: 1st Conjunction, Maximalism
MFA Gallery, Emily Carr University of Art+Design, Vancouver, BC, Canada
Open House at Emily Carr University of Art+Design
Emily Carr University of Art+Design, Vancouver, BC, Canada
Making-Love Club Event
SHIBUYA LOFT 9, Shibuya, Tokyo, Japan
Under Construction
Ranger Station Art Gallery, Harrison, BC, Canada
2022
A Group Show
Sunset Terrace, Vancouver, BC
Window Art Walk 2022 (Co-curated, co-organized with Yasmine Haiboub)
Vancouver, BC
2021
Koganei Art Spot Chateau 2F , Tokyo, Japan
https://artfullaction.net/gallery-event/?t=1631660486576#googtrans(null)
Yasashii Sekai Poems (Co-curated, co-organized as Yasashii Sekai Collective with Nemoto Wakana and Kanako Iriguchi)
Mailing List
2020
Dark Indépendants
Online, Based in Tokyo, Japan
Disjunct Scintillations (As podcast host interviewing artists)
Vancouver, BC
Artist Instagram Takeover
Ground Floor Art Centre, Instagram
2019
Sonic Celebration
Ground Floor Art Centre, Vancouver, BC
Open Studios at OZHOUSE
OZHOUSE, Ozu, Ehime, Japan
OSA-1/2: Take Solace in Confusion
SPACE, Vancouver, BC, Canada
The Other Show
EatArt, Vancouver, BC, Canada
(not)For Sale
Neighbourhood Gallery, Vancouver, BC, Canada
2018
Dialogues With Photography
Emily Carr University of Art+Design, Vancouver, BC, Canada
Did We Break It
Diffuser Gallery, Vancouver, BC, Canada
2017
ORBIT XIIV: 1st Conjunction, Maximalism
MFA Gallery, Emily Carr University of Art+Design, Vancouver, BC, Canada
Open House at Emily Carr University of Art+Design
Emily Carr University of Art+Design, Vancouver, BC, Canada
Making-Love Club Event
SHIBUYA LOFT 9, Shibuya, Tokyo, Japan
Press
2024
Vancouver Crow; Online (Invite Only)
2023
All We Want Is More: The Tobias Wong Project Catalogue; essay; Print Publication
https://museumofvancouver.ca/tobias-wong-catalogue
“Follow Architect turtle through a world of wonders: Mikaela Kautzky at nap“; Peripheral Review 2023 Print and Online Publication
https://www.peripheralreview.com/follow-architect-turtle-through-a-world-of-wonders-mikaela-kautzky-at-nap/
2022
"Emptiness Ran Rife: Rina Lyshaug’s Narratives from the Emptiest Place"; Peripheral Review 2022 Print Publication
https://www.peripheralreview.com/emptiness-ran-rife-rina-lyshaugs-narratives-from-the-emptiest-place/
2020
undelivered packages (1/3 of series “你搞咩呀”); Self-published
2019
NONONOYES; Self-published
Suppertime; Self-published
2018
BitBitBit; first edition; Self-published
Dotcom; first edition; Self-published
Similar forms (photographic series); first edition; Self-published
2017
Panic Carefully; Vol.0; first edition; Self-published
Making-Love Club, Issue No. 1: The Myth of Infallibility; Cover Art
https://making-loveclub.com/2017/08/27/
High(er) Magazine, Issue No.4; Article: WHAT I AM MADE OF
http://hahaharu777.thebase.in/items/7701900/
i-D VICE
https://i-d.vice.com/jp/article/wjnmqb/news-making-love-club
Vancouver Crow; Online (Invite Only)
2023
All We Want Is More: The Tobias Wong Project Catalogue; essay; Print Publication
https://museumofvancouver.ca/tobias-wong-catalogue
“Follow Architect turtle through a world of wonders: Mikaela Kautzky at nap“; Peripheral Review 2023 Print and Online Publication
https://www.peripheralreview.com/follow-architect-turtle-through-a-world-of-wonders-mikaela-kautzky-at-nap/
2022
"Emptiness Ran Rife: Rina Lyshaug’s Narratives from the Emptiest Place"; Peripheral Review 2022 Print Publication
https://www.peripheralreview.com/emptiness-ran-rife-rina-lyshaugs-narratives-from-the-emptiest-place/
2020
undelivered packages (1/3 of series “你搞咩呀”); Self-published
2019
NONONOYES; Self-published
Suppertime; Self-published
2018
BitBitBit; first edition; Self-published
Dotcom; first edition; Self-published
Similar forms (photographic series); first edition; Self-published
2017
Panic Carefully; Vol.0; first edition; Self-published
Making-Love Club, Issue No. 1: The Myth of Infallibility; Cover Art
https://making-loveclub.com/2017/08/27/
High(er) Magazine, Issue No.4; Article: WHAT I AM MADE OF
http://hahaharu777.thebase.in/items/7701900/
i-D VICE
https://i-d.vice.com/jp/article/wjnmqb/news-making-love-club
Collaborative piece with Teejita Gupta and Ateret Buchman
CD Players, CDs, Projection Mapping
2017
Work from series Nihon Jinzou #3
Medium Format Color Negative, Printed on Fibre Paper
2017-18
Work from series Nihon Jinzou #1
Medium Format Color Negative, Printed on Fibre Paper
2017-18
Wood, Speakers, Sound, Digital Print on Transparency, Plastic, Florescent Light, Metal, etc.
2019
Analogue Fibre Print
2018
waffled paper, photographic prints, ink
2017
2019
Co-run and co-curated with Avery Hannig
2019
Co-run and co-curated with Yasmine Haiboub
Funded by Canada Arts Council
2021-2022
Co-curated with Olivia Chaber
2017
2020
zine (one of one. digital scan available upon request)
2017