Chrystal Phan is a story teller. The tales she tells in her debut solo exhibition are monumental and multi-hued. They feature stories she’s heard from family and friends, embellished by her own imagination. All her paintings document some aspect of the
This is the Sleep Factory, Trish Shwart’s exhibition at Martin Batchelor Gallery that opened on November 7th, with a persuasive performance by the artist as a marketeer, and continues with a visual smorgasbord of parodies that explore the commodificatio
Samantha Dickie presents
A Moment in Time
September 10 - October 31, 2021
Victoria Arts Council Gallery, 1800 Store Street,
Victoria. BC. V8T 4R4
Hours: Wednesday - Sunday, 12:00-5:00
Artist Talk: Sunday, October 17 @ 3PM, VAC Gall...
PREVIEW: http://www.artopenings.ca/bury-the-hatchet.html
We have lots to talk about because The Hits have been one busy band. First off, can you introduce yourself and the band and their instruments. Why no bass?
Alright, well, I am Dusty and I hit stuff really hard and sing a bit, Lou Slips...
Preview:
http://www.artopenings.ca/laundry.html
GWAR – Oderus Urungus Does Not Smoke Crack Well With Others
Oderus Urungus is not the sort of intergalactic barbarian warlord who minces his words. I spoke with the leader of GWAR recently, and between copious puffs on his crack pipe,...
Wynn Gogol has been involved in enough recording sessions over the years to know what works in a studio setting and what gets in the way of musical momentum.
For those unknowing, Bison are Vancouver’s currently-reigning champions of The Riff, trafficking in mercilessly heavy, sludgy, and addictive sonic terror. Think discarded beer cans peppered with shotgun holes, full-size back-patches, pall...
Interview with The Delirians done in June, 2012 by D'Arcy Briggs
Ska Fest: When and where did you guys meet? When did you decide to form the band?
Delirians: Most of us, like many other bands, grew up in the punk rock scene, ...
“You shouldn’t start telling a story if you don’t have a story to tell.” From his seat in the lunch room of Vancouver’s Orpheum Theatre, Tuomas Holopainen leans forward and speaks into the digital audio recorder resting on the coffee table in fr