A meal. There’s nothing more common, more universally shared in every corner of the world, than the ritualistic togetherness of a meal. We all remember our favourite meals, the scent that fills homes through generations, or the rooms we hold in the core of our memories. In the background, a family picture hangs on the wall behind your mother; the plate you eat from is carved with knicks and scrapes of cutting and scooping bitefulls. There are random objects, light fixtures and family heirlooms that will be passed on to a cousin moving into their new home, and a garden breaths life as you peer outside the window in a child-like state of daydreaming.

manner(isms) welcomes viewers into a German-Cree biracial home and intends to be a reminder - there will always be social and historical intersections and commonalities between all people. In juxtaposition, hints towards the exhibitionism of traditional Indigenous homes introduce themselves through an anthropological lens. The mixture within manner(isms) consists of h(Oma)ge (book and frames), our Table, readymades and craftsmanship lean on notions of duality and embracing of the marvellous in the mundane.

In view, you’ll find separate series and objects presented in a familiar setting. The series of multimedia framed works and corresponding book, h(Oma)ge (2019), was created 11 years after the Matriarchal head passed, capturing memorable moments and Her spirit. our Table (2025) is a poem that furnishes the space with the epitome of a table spread: grounding gratitude. Readymades and beaded elements serve as a reminder that identity will always be intertwined in our beings, no matter how prominent, bright, or, at times, feeling out of relation to other parts of ourselves.

On March 28 from 6-8pm, join us for an opening reception featuring light snacks and refreshments. This event is free and open to the public.

AKB is a biracial Cree writer & strategist, born & raised in the Sylix Okanagan nation. They received a Bachelor of Arts in Western Art History & a minor in Anthropology at UBC, focusing on Western impacts on Indigenous cultures & museum curation. AKB's current works address themes of nature, interconnectedness & historical consciousness with recent achievements like their essay “(un)resolving liminality” for the Alternator Centre for Contemporary Arts (Fall 2024), an exhibition at the Kelowna Community Theatre (April-May 2024) of the multimedia project “Our Cabin In The Woods” & landing on the shortlist for UBCO’s Short Story Contest (Spring 2024) with their work “kimiwan.”

True Songs is a deeply personal series born from a year of transition, reflection, and reconnection during the pandemic. Having spent eight years away from Canada, I returned feeling like a stranger in my homeland. This series became a way to explore British Columbia and rediscover a sense of belonging amidst the uncertainty. 

Through travels across Osoyoos, Penticton, Summerland, Oliver, West Kelowna, Vancouver, Victoria, and Revelstoke, I sketched, sanitized, and captured moments of how we lived during this time. I witnessed loneliness, small joys, and the quiet determination that carried us forward. These shared experiences reminded me that, despite the isolation, we were navigating this together. 

Each evening, I transformed these observations into watercolor, soft pastels, glitter, salt, and water on paper. The flowing watercolors mirrored my emotions, while the textures and layers gave shape to fleeting yet powerful moments. Over time, the series grew into a visual storybook, with titles serving as prompts to connect with the work on a deeper level. 

True Songs invites the Alternator’s audience to reflect on resilience, connection, and the shared experiences of this time. It is both a personal expression and a call to explore how we move forward, together.

Born in Hong Kong in 1982 and raised in Toronto, Wynne draws on her multicultural background to create art that explores themes of belonging and love. Using abstraction and vibrant color, she evokes raw emotion and connection. Working with watercolor and acrylics, Leung's creations transcend boundaries, offering a reflection on shared humanity and the power of connection.

See more of Wynne’s work on her website!

“In my mind a closure of kinds is created when a statement is made. It suggests a complete understanding of a situation and  is therefore creating a closed chapter or a section of time suggesting it to be coming to an end. My practice is open ended and fluid. Something I try to maintain in my work at all times.”

Jeroen Witvliet is a Dutch / Canadian artist who mainly works in painting and drawing. Jeroen’s practice revolves around finding distinct imagery that addresses a variety of issues and subjects, ranging from historical, environmental, social and group dynamics, landscape, memory, art history and more but all are driven by a deep sense of uncertainty. In his paintings/drawings there is a constant push to challenge preconceived notions of the medium but also to question the linearity of his practice and (historical) timelines.

Jeroen’s exhibition of charcoal drawings will be on display in our Project gallery from February 7th to March 21st.

On February 7th from 6-8pm join us in an opening reception featuring light snacks and refreshments. This event is free and open to the public.

Jeroen Witvliet is a Dutch / Canadian artist working mainly in painting and drawing. After immigrating from the Netherlands to Canada, he moved to Vancouver BC and from there to Vancouver Island. Jeroen graduated from the Wilem de Kooning Academie, Rotterdam, the Netherlands with a BFA, studied film, video, and painting at the Emily Carr University of Art and Design and holds an MFA from the university of Victoria, BC, Canada. 
His work has been exhibited throughout Europe and North America and is part of private and corporate collections. Jeroen has had thematic exhibitions based on the research and production of new work after the completion of international residencies and his practice has received multiple Canadian Council for the Arts and British Columbia Arts Council Grants.

In our Main Gallery from February 7th until March 21st, the Alternator is excited to display Tara Nicholson’s exhibition, 'Mammoths, EcoZombies and Permafrost Extinction.’

This exhibition endeavours to depict a polar ecosystem warming at a rate of 3-7 times faster than other landmasses. From this perspective, the Arctic can be seen as a microcosm of climate breakdown, where the accelerating effects of climate breakdown are already visible within its human and nonhuman animal ways of life. Arctic amplification or a quickened state of warming, will produce increases in extreme weather, altering animal migration and causing widespread habitat loss. Reflecting on permafrost, extinction and “eco-zombies,” the term attached to climate techno-fixes like (de)extinction and geoengineering, this exhibition looks to re-characterize “frozen life” as something increasingly valuable. Examining the fleeting nature of the Arctic, Nicholson questions the unseen realities of climate collapse to envision a post-anthropocentric representation of the Arctic.

The final exhibition will feature framed photographs, lightboxes, and ceramic tusk installations.

On February 7th from 6-8pm join us in an opening reception featuring light snacks and refreshments. This event is free and open to the public.

Tara Nicholson is an artist who explores ecological activism through a more-than-human lens. Her photo-based and installation practice has investigated Arctic extinction and permafrost research for the past ten years. She has exhibited and attended residencies across Canada and internationally while receiving funding from the BC Arts Council and Canada Council. She was invited to ‘Earthed,’ an eco-art residency (Banff Centre) and her recent exhibitions include “Wicked Problems” (Queens Gallery, UK), “This Image That” (Victoria Arts Council), “Site, Surface, Sample” (Gallery 44, Toronto) and “Fieldwork” (Lake Country Gallery). Tara is a Continuing Lecturer at UVic and is completing an interdisciplinary PhD at UBC, Okanagan.

On now at the Alternator Centre for Contemporary Arts’ Members’ Gallery: ‘Lakeshore Meditations’ by Marguerite MacIntosh. This exhibition is on display at the Alternator until Saturday, February 22th, 2025.

This series of paintings grew from the artist’s practice of walks from her home through the Trout Creek neighbourhood in Summerland. MacIntosh’s regular walk skirts along the shore of Lake Okanagan where she makes an intentional pause to sit near water’s edge and look across the lake to the opposite shore. This pause is documented with a set of photographs of shore, lake, land and sky. The time of day and the frequency of walks varies with climate, road conditions and travel interruptions, yet they constitute an ongoing form of ritual that has been followed by the artist for over two years. The process of creating the multi-layered, formatted, abstract studio paintings serves as a contemplative exercise that incorporates the photographed lake and landscape colours. Each work includes intentional, constrained elements and spontaneous, intuitive interactions. As a group they form a visual inventory and meditation on particular moments at a particular place in the tradition of episodic series by artists such as Claude Monet and On Kawara.

The contrast of gridded/random dots and solid/expressive colours speak to the interface of life’s predictability and uncertainty. Consideration of liminal spaces such as the now between past and future, our bodies between our inner and outer worlds, and the intersection and interplay between physical and spiritual realities inform much of MacIntosh’s art practice. Her background in architecture, which deals with both the interface of the built environment within the landscape and the lived experience within built spaces, is evidenced in her use of clear geometric elements in conversation with gestural mark making and loose painterly brushstrokes.

On February 7th from 6-8pm join us in an opening reception featuring light snacks and refreshments. This event is free and open to the public.

The Gay Agenda is a pejorative phrase and idealogy coined by conservative religious groups targetting the advocacy of the 2SLGBTQ+ community. The idea being that queer people have created an elaborate scheme to recruit people to the queer lifestyle, encourage deviant behaviour, and dismantle institutions such as “traditional family and marriage”. While the queer community definitely has an agenda, this is not it. The reality is that queer people just want to live in a just and equitable society.

Over time, we have seen folks in the queer community combat this harmful rhetoric the best we know how; to advocate for our rights to exist, often using art, humour and joy as our best defence. The term “the gay agenda” has been adopted, reappropriated, and memeified by many queer groups, artists, activists, and the like to turn the phrase on its head. The Gay Agenda, an exhibition featuring 4 local Okanagan-based queer artists, aims to continue this tradition. The Gay Agenda brings together artists Jacen Dennis, Samantha Wigglesworth, Sarah Jones, and Fred Thacker in a group exhibition highlighting queer joy. Using queer joy as a form of resistance, we assert that we have always been here and will continue to always be here. As we continue to fight for our space in the world, which can oftentimes be challenging,  traumatic, and exhausting, the moments of joy, love, laughter, and peace in between are reminders of the true "agenda"—the right to exist and thrive.

On Friday, December 6th, from 6-8pm the Alternator will host a reception for The Gay Agenda, as well as salmon arm, bc. december 25, 2021 and Three Way Mirror by Daniel Barrow, Glenn Gear, and Paige Gratland. Please join us to celebrate these fantastic artists, and catch a sneak peak at some of the work that Barrow, Gear, and Gratland will be creating during their residency in our Main Gallery. This event is free to attend and light snacks will be provided. RSVP on Eventbrite.

Jacen Dennis is a transgender (transmasculine) new media artist based in Kelowna, BC. Jacen’s current artistic practice explores intersections between gender transition and familial relationships, as well as transgender bodies in the natural world. He primarily combines filmed and photographic media with ambient looping digital animation presented in immersive multi-projector installations. 

Jacen completed his Master of Fine Arts (MFA) at the University of British Columbia, Okanagan with his body of work: Seen|Unseen (2021). He was the project coordinator and lead animator for both the live performance projectMusic of the Heavens (2017) and the forthcoming animated short films and exhibition Celestial Bodies.

Fredrik Thacker is an artist based on the unceded and ancestral territory of the Syilx people. A queer and transgender man, Thacker’s work delves into themes of masculinity, gender-bending identities, pornography, and societal taboos. Known for drinking too much coffee and frequently using the cowboy emoji, Thacker is currently pursuing a Bachelor of Fine Arts at the University of British Columbia’s Okanagan campus.

Thacker’s current body of work centers on a process of rapid regurgitation, exploring the complexities of queer sex, intimacy, and the consumption of pornographic imagery. By employing iconography and narratives familiar to the queer and transgender community, Thacker aims to create a dual response: offering comfort to those within these communities while generating discomfort in those unfamiliar with queer coding. This duality establishes a space that is simultaneously safe and unsafe, intimate yet estranged. Focusing on the materiality of paint application and the use of mixed media, Thacker recreates the visceral nature of sexual experiences through textured and abstracted figures, as well as depictions of sex objects or practices. With an intuitive, fast-paced approach, Thacker’s process becomes akin to brief flings with each figure, engaging with them just long enough to achieve artistic satisfaction.

Sarah Jones is a 2 Spirit Anishinaabe (bear clan) Interdisciplinary artist. Born and raised in Syilx Territory, away from her Nation of Iskatewi-zaaga'iganiing 40, Sarah created her art business honeycub to soothe her soul. In her work she is striving to reconnect with her lost culture and hopes to use her art as a tool to further explore Indigenous cultural practices and methodologies.

To understand the true meaning of the Anishinaabe language, we must first understand that the Anishinaabe describe their way of living using mainly verbs.

Aanik = to be interconnected

Aanikoobijigan is a concept word that translates to: an ancestor, a great-grandparent, or a great grandchild. These words all have the same meaning in Anishinaabemowin. This is a sacred teaching provided through the Seven Grandfather Teachings. 

The concept of Aanikoobijigan is as follows: 

“One to whom I am connected; I am inextricably linked to you; I am all of my relatives and they are all me.”

To consider how we live our life for the next seven generations to come, and for the seven generations that came before us. This concept brings us closer to our family before us and our family after us.  This is an example of ancestral and familial resiliency.

It is especially important to note that the damage done by Residential Schools and Colonization has completely ripped the fabric from the life of Indigenous people. Notions such as Aanikoobijigan have been almost lost to our people. With this piece the Artist Sarah Jones hopes to pay homage to her family who has suffered these great losses.

Artwork: Aanikoobijigan 2024. Mixed Media & Acrylic.

Samantha Wigglesworth is a queer femme artist who works primarily in queer, transgender and gender non-confirming representations through portraiture. Growing up in conservative Northern BC then moving to Abbotsford for their BFA at UFV was a truly eye opening time for her artistic journey. After Graduation Samantha decided to continue her studies with a Master of Fine Arts at UBCO in Kelowna in September of 2024. Here Samantha plans to use their research thesis to further explore contemporary issues around gender expression, around the increasingly violent and hostile tide of conservative rhetoric we are experiencing in North America. Through these works they will advocate for gender expression as a positive and liberatory act. Asking audiences to reexamine their preconceptions of gender and their judgments, challenging them to see how they might contribute to change.

Artworks from left to right:

I Wanna Be That Fucked Up Girl, acrylic on cavnas, gold foil.

If This Continues…, acrylic on canvas with beading.

please stop perceiving me, acrylic on wood panel with aluminum moving mosaic.

For our final Project Gallery exhibition of 2024, the Alternator is pleased to present salmon arm, bc. december 25, 2021 by zev tiefenbach.

The images in this exhibition were shot on the evening of December 25, 2021. It was a cold evening on the onset of a meteorological event called a "polar vortex". A text-based first-person narrative is embedded on the images and weaves its way through the collection.

This text is rooted in tiefenbach’s experience on this particular day. Some of the writing considers the quotidian; wondering if his wife will make Chinese food for dinner or what movie they’ll go out to see later. Some of the writing contemplates larger issues like why he moved into town from the country or how indicators of climate change impact the trajectory of their family.

 Cumulatively, the body of work seeks to re-imagine the landscape photograph.

Visually, this project is a story of displacement. As families, gather together inside to celebrate, he is alone outside documenting the largely white Christian world of middle-class Salmon Arm. The exteriority of the images stands in juxtaposition to the text which is a very interior monologue. 

This body of work posits that the landscape is not a static, generalized moment, but a subjective time/place informed by teifenbach’s family history, his restless temperament, an unfolding climate crisis, questions of hetero-normativity in architecture, and moral questions of how to live in a world dominated by injustice. 

tiefenbach seeks to create depictions of the landscape that resist the decontextualization of the photograph that otherwise proposes itself as whole. Instead, he acknowledges the photograph as part of an inter-connected discourse where indicators of climate crisis such as the polar vortex, the heat dome, and the atmospheric river live simultaneously in our consciousness. A landscape where his family's inability to raise a raspberry crop is informed by his son's need for brain surgery which speaks to why they now live in town. 

Intrinsic to the storytelling is the visuality. The images are arresting and immersive creating a vivid engagement with place and time. tiefenbach wants to tell this fragment of his story rooted in the experience of a bitterly cold evening traversing through this middle-class residential neighborhood where Christmas lights mingle with dusk and blowing snow. 

The quantity and materiality of the lightboxes help do this. Upon entering the darkened exhibition space, the viewer is transported. The glow of the lightboxes is like opening the door to a star-filled night, inviting viewers to share this evening walk with him. The 3-dimensionality of the boxes gives a depth to the viewing plane. Christmas lights punctuate the purple dusky sky through the backlit film. The streetlights cast an orange glow as the taillights of a car make their way down an otherwise deserted road. The light source itself gives the viewer pause to dwell within the image, absorb the nuances of the scene and read through the text as though they had come for a stroll with me on this cold evening in Salmon Arm. 

So while, the sequence explores questions of displacement, the body of work is meant to be centered within his own experience. This intimacy mitigates his own sense of being "othered". Perhaps it also reminds the audience of being closer to themselves in the places they habitate?

On Friday, December 6th, from 6-8pm the Alternator will host a reception for salmon arm, bc. december 25, 2021, as well as Three Way Mirror by Daniel Barrow, Glenn Gear, and Paige Gratland and The Gay Agenda by Jacen Dennis, Sarah Jones, Fred Thacker, and Samantha Wigglesworth. Please join us to celebrate these fantastic artists, and catch a sneak peak at some of the work that Barrow, Gear, and Gratland will be creating during their residency. This event is free to attend and light snacks will be provided. RSVP on Eventbrite.

zev tiefenbach is a second-generation Canadian, currently based in Salmon Arm on unceded secwépemc territory. tiefenbach’s grandparents are holocaust survivors and tiefenbach was raised within a post-traumatic ethos where imminent catastrophe was superimposed over the quotidian. tiefenbach’s childhood was spent in a city where the dissonance between his middle-class surroundings and his own internalized sense of victimhood instilled a curiosity to explore the intersection between landscape, trauma and narrative. His work uses lens-based mediums, text, installation and constructions of the archive to describe his post-genocidal passage through the world. tiefenbach has a BFA from Concordia University and is an MFA candidate at the University of British Columbia Okanagan.

Special thanks to Victoria Verge and Devyn Farr for production assistance.

For our final Main Gallery presentation of the year, the Alternator is pleased to present a unique half-residency, half exhibition by the Three Way Mirror collective.

For artists who belong to a social group that has often been marginalized, it is unsurprising that the Three Way Mirror queer collective are drawn to similarly marginalized crafts – art forms linked to the personal and political. For each member of Three Way mirror, there has been a natural progression, resulting in the production of queer colourways, glitter-bombed sealskins and paper-doll poems, as well as the “sewing circle” as a preferred mode of studio practice.

For the first few weeks of their time at the Alternator, the Three Way Mirror (Daniel Barrow, Glenn Gear and Paige Gratland) will create a queer craft “triangle” that will serve both as a production studio that will look forward to the group exhibition and as a touchstone for queer conceptual craft community.

On December 20th, from 5-7pm join us as we unveil the finished exhibition! For two weeks, artists Daniel Barrow, Glenn Gear, and Paige Gratland have been working away on a new series of work. Collaborating across a variety of mediums, the trio have been creating work that is rooted in craft traditions. Their time at the Alternator culminates this Friday as we reveal their finished exhibition!

Come celebrate Three Way Mirror with a cozy evening reception. Tea and light snacks are provided. This reception is free and open to the public!

Three Way Mirror will be on view in the Main Gallery from December 20 2024 - January 25 2025.

Daniel Barrow is a Montreal-based artist who works in video, film, print-making and drawing, but is best known for his use of antiquated technologies, his “registered projection” installations, and his narrative overhead projection performances. Barrow describes his performance method as a process of, “creating and adapting comic narratives to manual forms of animation by projecting, layering and manipulating drawings on overhead projectors”.

Glenn Gear is an interdisciplinary artist of Inuit and Irish ancestry from Nunatsiavut, Labrador and based in Montreal. Gear has been working in hand-beaded objects, combining Inuit methods with his own intimate processes and approaches, which convey latent queer realities in traditional patterns. Working in beadwork on sealskin, Gear has begun incorporating glitter, sequins and other signifiers of queer culture to embrace personal and cultural connections between land, people, and animals through research-based creation. His handcrafted beadwork and animated films incorporate layers of meaning derived from materials, collage, and craft techniques, seen through an indigiqueer lens.

Paige Gratland is a visual artist and filmmaker. Her work is informed by social history and design, producing projects and objects that explore craft practices, intergenerational exchange and relationships to colour. She learned to weave in 2019 at the Richmond Weavers and Spinners Guild (British Columbia) and is currently enrolled in the Master Weaver Program at Olds College (Alberta).

Katja Ewart's screen print installation, Happiness Only Real When Shared, examines how the human spirit and memory are influenced by landscape and environment. The work intends to act as a gesture of gratitude towards the environments and individuals who have shaped her memories. The imagery in the work is a collection of personal memories that Ewart has created in British Columbia since moving away from Calgary, her hometown. She aims to highlight the small details found in nature that often go unnoticed due to the fast pace of individuals' daily lives. Her work creates an environment that encourages observation through image distortion and repetition of imagery. By printing on a variety of delicate and translucent materials, the imagery begins to overlap and distort the works nearby. This interconnectedness of the imagery reflects memories in the human mind; one memory affects how others are interpreted. 

Despite her love for digital processes, like filmmaking and photography, Ewarts's recent work has been created with the intention of moving away from digital processes. It relies on both digital and analog mediums. Katja enjoys working with the physical process of screen-printing,  as it allows her to turn away from technology and focus on the materiality of her work. Through the process of creation, she has explored the relationship between tangible objects and memories, and the installation reflects how documentation of events does not always reflect reality. 

Katja Ewart's creation begins with a film camera and 35-millimetre negatives, which she then processes and scans. With these high-resolution scans of the film made, the images are then printed onto a film that can be transferred onto a silkscreen. Once the images are transferred onto the screen, the physical screen printing can begin. Throughout this process, there are infinite moments for errors to occur, which oftentimes they do. These mistakes often serendipitously change the work. 

Happiness Only Real When Shared will be on view in the Members’ Gallery from November 8 - 30 2024.

Learn more about Katja Ewart’s work on her website.

EMPLOYMENT OPPORTUNITY

The Alternator Centre for Contemporary Art invites applications for the position of:

COMMUNITY OUTREACH ASSISTANT

Application Deadline: October 31 2024, midnight

Part time. 12 hrs/week (Fridays & Saturdays)

Remuneration: $18.00/hr

We are currently seeking values-aligned applicants for the position of Community Outreach Assistant.

Working with the Artistic and Administrative Director and the Assistant Director, the Community Outreach Assistant will support the gallery’s external communications activities, as well as participate in general gallery activities including administration, volunteer coordination and exhibition installation / deinstallation.

The preferred applicant will have some experience in visual and/or media arts, and a familiarity with artist-run centres. They are a highly responsible team player with excellent interpersonal and organizational skills, and can demonstrate personal initiative and leadership within a collective environment.

Major responsibilities include: drafting and scheduling external communications including our newsletter and social channels, assisting with daily administrative duties including volunteer coordination, general exhibition installation and maintenance.

We are seeking applicants with the following characteristics:

• Excellent oral and written communication skills with an eye for detail, accuracy and clarity.

• Familiarity with the Mac environment, including Word, Excel, Adobe CS, and template-based web design platforms.

• Physical ability and knowledge to perform preparatory and installation work.

• Strong interpersonal skills, and an ability to connect with patrons from diverse backgrounds.

• Ability to work with a team as well as independently.

• Flexibility to work daytime, evening and weekend shifts.

To apply, submit a single PDF document (titled ‘YourFirstNameYourLastname.pdf’) containing a cover letter, resume and contact information for two references to HR@alternatorcentre.com. Please write 'Attn. Hiring Committee' in the email subject line. Deadline October 31 2024, midnight. Applications will not be accepted in person.

The Alternator Centre for Contemporary Art encourages applications from under-represented cultural workers of all backgrounds including, but not limited to, Indigenous, Black, and racialized persons; refugee, newcomer and immigrant persons; two-spirit, LGBTQ+ and gender non-binary persons, persons with diverse abilities, and those on low-incomes.

We thank all who express interest in this position, however, only those selected for an interview will be contacted.

Amy Van Dongen is an Okanagan artist, art therapist and owner of Bloom Art Therapy. As an art therapist, Amy believes that art is innately healing and enjoys the calming ability that an art practice offers.

Dear Diary, explores Van Dongen's inner world and life experiences. Each page is an image of how it felt to be Van Dongen, at that time of making it. Van Dongen also invites the viewer to interact with the work to explore the medium of black-out poetry. Explore Van Dongen's pieces amongst many blank pages where the viewer can interact with the pages directly on the glass. Then, come, sit back and relax, grab some art supplies and deep dive into your own altered book practice, where you will often find yourself writing a diary entry without trying. Books and materials are provided. 

Van Dongen hopes to open the door to creativity, to create quiet moments, and to help ground participants back to themselves. By offering take-home recycled books to the audience and a space for creating. Van Dongen hopes to spark a love of altered books, encourage using art to express emotions and most of all, encourage everyone to create time to just be themselves. The altered book itself can act as a metaphor for you to change an existing story, to create your own story that's uniquely yours. 

Combining words with visuals is Van Dongen's most authentic way of communicating her feelings. Each of us will have our own unique way of expressing our feelings visually. Giving us each the gift of a brand-new perspective. When choosing your book, really think about why you are drawn to it. Make sure the book is the right fit. Happy creating!

Dear Diary, will be on view in the Members’ Gallery from October 11 to November 2 2024.

You can learn more about Amy Van Dongen on her Instagram: @amyloreafineart  and @bloomarttherapy.amy

In New Noise: Okanagan Punk and Metal, Ari Pielecki explores the small but lively subculture of extreme music in the Okanagan Valley through a series of black and white photographs produced between August 2022 and August 2024. These images invite viewers to enter the world of extreme music and engage with subcultures that they may not have known existed in the Okanagan. New Noise is an ongoing project which serves as both a documentation and celebration of the bands and venues who make it possible for these scenes to survive. Pielecki is an independent Filmmaker and Photographer who currently resides in Kelowna, B.C. on the unceded territory of the Syilx Peoples. 

For the general public, Punk and Metal bring to mind images of violent and rebellious youth, or long-haired individuals covered in far too much spiked jewelry (both groups sporting denim vests covered in illegible band logos). While these stereotypes hold some truth, these music genres have historically been misunderstood by those who are not a part of the culture which surrounds them. The “scary” aesthetic of these genres symbolizes a shared musical interest, which helps Punks and Metalheads identify others who are part of their scene. Both the Punk and Metal music scenes share something beyond their intentionally inaccessible aesthetic: a devotion to community building, and a shared love for live music. For those who are immersed in them, these music scenes represent positive connection, as well as a safe space to exist in an ever-alienating world. 

New Noise: Okanagan Punk and Metal will be on view in the Members’ Gallery from September 13 - October 5, 2024.

Think of a child once rescued from drowning, still scared of water as an adult. Think of a traumatic experience that traumatizes the person, now struggling to view the world the same as before. Now think of a white paper void of characters as Locke puts it -the Tabula Rasa. This resembles the mind as it starts blank and all the pieces of reason and knowledge, the perception of a “self”- the identity- are derived from experiences. Then imagine a gateway, the medium that ties one’s experiences to this blank slate. Memory! Memory that not just captures, but ties oneself, one’s identity, to one’s memories; lived, being lived, and still to live. Tavakoli’s practice attempts to re-interpret the Identity-memory relationship. As in the identity that cannot be reachable without being lost in memories, and the memories that cannot be experienced, remembered, or even stored without reflecting on the identity of the person carrying them. 

Tavakoli uses technical strategies to deconstruct her compositions, and then displace and distort the reality as we know it, to articulate that memory and identity cannot be defined separately given the complex overlapping nature of the two concepts. Tavakoli’s detailed and impactful charcoal drawings use collage as a starting point to entertain the interdependence of experiences (memories) and identity. What is collage more than fragments you put together to make sense? In Kentridge’s opinion, that is the very way we go through the world. “As a coherent being, one understands this self in fact is a completely provisional fragile construction of a walking collage of thoughts and ideas and thinking.” How then can a person be defined independent of society? Influenced by the socio-political climate of Iran where she grew up as a female artist, Tavakoli draws inspiration and reflects upon the black marks that are left on this collage that is her identity, that is Tavakoli. 

- Parsa Gooya

بطن The core of my person will be on view in the Project Gallery from September 13 - October 26, 2024.

Maryam Tavakoli (b. 1997, Isfahan, Iran) is a multidisciplinary artist based in Victoria, BC. She received an MFA degree from the University of Victoria in 2023 subsequent to her BFA from the best art university in her home country, Tehran University of Art, Iran. Tavakoli’s practice questions the relationship between identity, memory, and time. In her works, she makes use of a variety of materials that can embody the vague distorted reflections of memory and identity upon one another, through a combination of practices involving drawing, installation, and sculpture. She seeks to explore identity through memories of lived life experiences, personal traumas, and the social/cultural structure of her home country. Tavakoli’s work has been exhibited in over a dozen exhibitions over the two years since her arrival in Canada, including notable juried solo exhibitions at the Fiftyfifty Arts Collective and Xchanges Gallery in Victoria. She has been the recipient of numerous scholarships through the University of Victoria and is currently teaching as a sessional instructor in both the Visual Arts Department and Continuing Studies Department at UVic.

Jordan Hill is a Coast Salish (T’Sou-ke Nation) new media artist from Vancouver Island whose work alludes to the blurred line between fact and fiction within contemporary culture. Hill questions how we navigate a spatially manipulated world where truth is incredibly difficult to locate both physically and virtually. He juxtaposes unexpected ideas and seemingly unrelated locales, uncovering the intersections between urban and rural facades in ways that transform how we think about both. Hill’s work utilizes our relationship with technology and virtual imagery in a way that helps us foster a deeper connection with the world away from it.

In the piece, Horizontal Vertigo, Hill addresses themes of exhaustion, facade, and transparency in a contemporary society asking too much of our time and energy. In an era where physical and digital environments impose relentless pressure, there is a constant insistence for society and individuals to be producing, to be moving. We find these pressures both in physical and digital environments, becoming increasingly impossible to escape, resulting in perpetual exhaustion. Empathy becomes exhausting through the unrelenting nature of capitalism. We start to become desensitized to this movement, our thoughts and experiences become fleeting. Horizontal Vertigo is a response to facades and spaces relying on the tiredness we are conditioned to accept. 

This interactive installation allows viewers to walk in front of and through the projections, casting a silhouette revealing the brutalism behind the trees. These screens behave as a manufactured facade as a way to question our spatial relationship between the physical and digital. In what ways do we allow our intuition to be undermined by a fast-moving world? In a world of content where the line between fact and fiction becomes blurred, it is important we find moments to slow down. This project gives autonomy back to the viewer, allowing for the time and space to spend with a moment that might otherwise push you through it. 

In Peripheral Loading, Hill addresses themes of memory, growth, the virtual, and exhaustion in a contemporary digital age in which we are overexposed to rapid expansion of information. The world is never truly off; we are subject to constant change at all scales, our attention as a commodity is at a premium and can become as fleeting as the information we generate. This project pokes fun at urban sprawl development sites and the temporary fence around them. Lined with mesh, they host utopic renderings of what's to come--a promise of lifestyle and luxury. Much like headlines and thumbnails in virtual spaces, development facades and renderings rely on immediacy to make quick shallow impressions, in spite of the contents they hold. 

In Peripheral Loading, Hill reconstructs the lifeless and flat qualities of these renderings, and encourages viewers to be critical of their relationship within ever-present rapid growth. How do we effectively keep track of our ever-changing public spaces if our attention is at a constant divide? Hill’s interrogation of the development site comes from living in 3 Canadian cities in 5 years, all going through rapid growth movements. Specifically, he reflects on his experience of watching and feeling space change in real-time, to be replaced with fences, craters, and concrete skeletons -- taking away shortcuts, sightlines, and memories of what was before them.

The Missing Distance will be on view in the Main Gallery from September 13 - October 26, 2024.

This exhibition contains flashing lights, images, and other luminous stimulations which may induce epileptic seizures in certain individuals.

Jordan Hill is a Coast Salish (T’Sou-ke Nation) new media artist from Vancouver Island whose work alludes to the blurred line between fact and fiction within contemporary culture. Hill’s work utilizes our relationship with technology and virtual imagery in a way that helps us foster a deeper connection with the world away from it.

See more of Hill’s work on his website and Instagram.

This exhibition acknowledges the support of Arts Nova Scotia.
This exhibition acknowledges the support of the Canada Council for the Arts.

Mariposa, the Spanish word for butterfly, references S.C. Jean’s growth and evolution as an artist. The Okanagan-based artist titled her exhibition Mariposa to embody the theme of change. For the artist, change is one of the most significant forces at play. An ever present element, infinitely occurring on multiple levels, feeding back into itself creating further and deeper expansions. The artist has attempted to capture this sense of change through brushwork, mark-making, colour and composition that, though static in reality, visually continues to change as the viewer observes her work.

Mariposa includes a selection of painting and drawing works, all of which feature Jean’s signature style of mark-making. All the works in the exhibition consider the ways in which the artist has grown as an artist since being involved with the Alternator as a loyal member and active volunteer. The four works on canvas were intentionally created for Jean’s exhibition. Reflecting on her time spent as a member of the Alternator community, Jean attempts to render her gratitude and admiration through painterly mark-making and use of colour. Alongside the large paintings are a series of small ink drawings, many of which were created while volunteering at the Alternator as a gallery host. This body of work reflects on Jean’s time spent participating with the Alternator community; crediting the community for pushing her to be artistically bold and for opening the door of wonder into the world of art.

S.C. Jean is an artist based on Okanagan Sylix territory in Kelowna where she has lived and worked for the past thirty years. A self-taught artist, in 2012 Jean felt compelled to take up painting and has continued in earnest to develop her style. Jean has shown her work in numerous exhibitions throughout the Okanagan region including at the the Lake Country Art Gallery, the Peachland Art Gallery, the Penticton Art Gallery, the Kelowna Art Gallery and the Alternator Center for Contemporary Art.

The Annual Postcard Project is back and this year we celebrate 35 years of the Alternator!

Once again the Alternator is celebrating our diverse creative community through our Annual Postcard Project. To commemorate our 35th year in the Kelowna arts community we invited our members to fill the walls of the gallery salon-style with original artworks and postcards.

The Annual Postcard Project is an opportunity for local artists to exhibit their work in the Alternator’s professional gallery space, creating a grand mosaic that showcases both the people involved with the gallery and the work they produce. This annual members’ exhibition doubles as an exhibition and sale where visitors could take home (or gift!) a part of the Okanagan’s rich arts community. Artists will take home 75% of sales while the remaining 25% supports the Alternator’s programming.

Everything in the gallery is up for sale, from artworks on the wall ranging from paintings, prints, and ceramics to our series of original, handmade postcards made by our member artists. To reflect on 35 years of the Alternator, we also invited artists spanning the last 3 decades to contribute their own unique postcards. Check out our online gallery of these special Alternator Artist Postcards here:

All artworks in the exhibition are unique originals and available for sale with prices ranging as low as $15.00 and up. People are encouraged to visit early, however, as works in the exhibition are sold, they will be removed from the wall and taken home with their new owners.

Kaylyn Hardstaff is an Edmonton-born, Kelowna-based artist. She graduated in April 2023 from NSCAD University’s Fine Arts Program in Halifax, Nova Scotia. Since moving to Kelowna in May 2023, she has worked at the Rotary Centre for the Arts as the Educational Program Coordinator. 

Kaylyn’s artistic practice in recent years has been focused on fleeting time, precarious moments, light, shadow and how all of these concepts fit together into her work. Kaylyn has been particularly interested in the idea of home, what makes a space or city feel like home, and how she can use her practice to become more comfortable in a space. After spending the last several years moving across Canada from Edmonton to Halifax, within Halifax a handful of times, and then from Halifax to Kelowna, her work has become very focused on capturing moments of day to day comfort, discomfort, joy, and awareness found in each new space or city. 

Kaylyn has been working through these concepts and ideas through drawing, writing, painting, printmaking, sculpture and installation.

‘23-’24 / 24-25 will be on view in the Members’ Gallery from June 7 - 29, 2024.

Connor MacKinnon’s artistic practice operates through a framework of imagination, potential, and questioning. Examining the unique qualities in objects as specific markers of material culture, his work explores the physical and conceptual reconstruction of objects using generative algorithmic 3D modeling. Linking these algorithms and speculative framework is the desire and ability to create variability and multiplicity within a defined system which both respects our sense of familiarity with an object and disrupts many of the assumed and expected attributes associated with how that object is perceived. CGish itself has been an examination and investigation into his own relationship to shared authorship, artistic labour, and control in the creation of artwork that is in part computer generated. 

While MacKinnon is currently experimenting with integrating A.I. into his practice in small ways the works present in this exhibition do not make use of any A.I. and instead are the output of generative parametric functions. These functions consist of a long series of instructions and restrictions that dictate the order and methodology of digital 3D construction. Their capacity to generate variability, multiplicity, and strangeness comes from their ability to accept variable input, whether that is from a physical artifact, digital geometry, or a purely numerical data set. Output as digital 3d models these forms must go through a process of digital fabrication or computer-aided manufacturing before they can exist in reality. In some cases, they can be directly 3d printed, others follow a process of molding and casting, and some require a more specific form of digital fabrication as in the case of Computers Generated (2024) which are welded steel forms created from patterns cut out on a CNC plasma cutter. 

While much of his work is driven conceptually and designed digitally, balance and personal satisfaction are maintained through a physical and tangible making practice which strives to create a sense of harmony between learning, experimentation, intellectual gratification, aesthetic pleasure, and craftsmanship.

CGish by Connor MacKinnon will be on view in the Main Gallery from May 10 to June 22 2024.

In this project, Kosar Movahedi approached the exhibition space as a ground for improvisation. Scholar and poet Fred Moten says “improvisation is how we make no way out of a way. How we make nothing out of something.” With this in mind, Kosar sourced photographs from the gallery room and through collage played with common themes in their practice that consider frames, surfaces, and the expectations we have of photography as a medium.

This gallery is a purpose-built space, and like most contemporary art spaces intends to be invisible. For this reason, all the architectural fixtures such as power outlets, vents, and lights are pushed up or down and outside of our sightline. She decided not to add much visual information to this blank horizon and instead highlight its void surface, bringing the attention of viewers to the ignored elements of the room. The resulting work presents itself as a document of the process of rethinking the space through printed photographs. 

The project’s title uses the word ‘folly’ in two meanings: Its common definition of foolishness, as well as referring to ornamental buildings that serve no practical purpose other than enhancing the landscape of a garden or estate. Especially common in 18th Century England and France, these structures often imitated the form of Roman temples, medieval castles, or Gothic towers. This project similarly puts on a gimmick that pokes fun at the indexical notion of photography.

Folly, by Kosar Movahedi will be on view in the Project Gallery from May 10 to June 22 2024.

We Got Mail! is a creative conversation between two high school art classes: one from Mount Boucherie Senior and one from Rutland Senior Secondary. This is a collaborative experiment that was scary, challenging, and fun!

The process started with students generating a number of art pieces and then mailed them off to their counterparts across the lake. Then, they opened the envelope sent to them and was met with the challenge to figure out how to make a new, original piece of art based on the contents inside. Finally, the new piece was mailed back to the original sender for final touches and for them to finish off the visual conversation.

We Got Mail! raised foundational questions for young artists. The high school art process often involves the leap from finding sources of inspiration to creating original art. This project demanded originality from the students. During the art-making process, shared conversations happened at both schools, such as: “What do I send?” “Is my work good enough?” “What if my partner doesn’t like it?” “What do I do with the art that I received?” “How can I transform someone else’s stuff into my own art?” Despite their concern, all of the students were engaged and ready to seek answers to their difficult questions. The result was a meeting in the middle, a culmination of the collaborative creative conversations.

We Got Mail! will be on view in the Members’ Gallery from May 10 to June 1. Join us and the artists from both schools on Wednesday, May 15 from 5-7pm for an opening reception. Light refreshments will be served.

The Annual Postcard Project is back and this year we celebrate 35 years of the Alternator!

Since 1989, the Alternator Centre for Contemporary Art has supported a wide variety of Canadian artists through exhibitions, community programming, and collaboration. We foster the arts in our community by supporting and developing the talents of local and national artists. To commemorate our 35th year we once again would like to invite our membership to celebrate with us!

Member artists can create an edition of unique handmade postcards, submit artworks to be sold for the studio sale, or both. You are not required to submit to both aspects but are highly encouraged to. This year, postcard editions are 5 postcards, and participants have an option to sign up for 2 sets for a total of 10.

To encourage the creative flow,  the Alternator will be hosting two postcard-making events leading up to the exhibition. These Members-only events on June 6th and 20th will be casual evenings of community building and postcard making. On June 6th, join us at Kettle River Brewing over delicious food and drink from 6-8pm. Then, on June 20th, join us for our second postcard-making party at the gallery. Basic supplies will be provided, but guests are still encouraged to bring their own art materials. Please RSVP on Eventbrite for the June 6th event!

Our Annual Postcard Project exhibition will open on July 12, with an opening reception taking place that evening from 6 - 8pm - mark your calendars to join us as we celebrate the exhibition, and our milestone 35th Birthday, as a community!

The Postcard Project invites 35 Alternator member artists (one for each year of our existence!) to create 5 or 10 original postcards. The works may be watercolour, collage, photographs or any other 2D media that will fit on the 4x6” postcard substrate (postcard blanks will be provided by the Alternator). In the spirit of the Alternator mandate, we welcome experimental interpretations of this project. A piece of creative writing? A painting made by your pet? Dance instructions? We want to see it! This will be a limited run of 350 unique postcards so don’t delay in registering as spots are limited, first come, first served! 

The numbered, limited edition postcards will be exhibited in-gallery and offered for sale to our visitors for $15 each with 75% of proceeds going directly to the artist, and the remaining 25% to the gallery to support the Alternator’s programming. The public will be encouraged to send their purchased postcard out to friends or family or keep it for themselves.

The Studio Sale is an open call for submissions for Members to submit up to two guaranteed artworks and one juried artwork (any medium / theme) for inclusion in an exhibition taking place in the Main and Project Gallery. The maximum artwork size is 36”x36”. Artworks may be offered for sale at any price with 75% of proceeds going directly to the artist, and the remaining 25% to the gallery to support the Alternator’s programming. Works will be removed from the wall as they are sold so buyers can walk away with their newly purchased art.

How​ ​to​ ​Participate:

Step​ ​1:​ ​Membership

Sign​ ​up​ ​for​ ​or​ ​renew​ ​your​ ​Alternator​ ​membership.​ ​You​ ​can​ ​sign-up​ ​online​ ​​or​ ​in​ ​person​ ​at​ ​the​ ​gallery.​ ​

Not​ ​sure​ if your Alternator membership is still active? ​ ​Contact​ ​us​ ​at​ ​250 868 2298​ ​or​ ​at​ ​info@alternatorcentre.com and we can help you out!

Step​ ​2:​ ​Register​ ​to​ ​Exhibit​ by June 23, 11:59 p.m.

Complete and submit the registration form either through the Alternator website or by completing a printed form that can​ ​then​ ​be​ ​submitted​ ​in​ ​person or​ ​emailed to​ ​info@alternatorcentre.com. Artists can sign up for either the Postcard Project, Studio Sale, or both.

Postcard Project & Studio Sale Registration Form (Online)
Postcard Project & Studio Sale Registration Form (PDF)

Step​ ​3:​ ​Label​ ​and​ ​drop​ ​off​ ​your​ ​artwork

POSTCARD PROJECT
Pick up your blank postcards (if applicable)

Artists participating in the Postcard Project will be provided with 5 or 10 4x6” blank postcards. Cards may be picked up at the Alternator between May 7 - June 22. Any medium is welcome as long as the piece remains 2D and limited to 4x6”. 

Unsure if your medium will work on the provided postcard paper? Not to worry! Folks are welcome to use their own paper as long as they are mounted with archival glue to the provided postcard upon delivery. For example, many photo-based artists have printed their photos and attached them to the postcards. This way, no matter your medium there is a way to participate!

Completed postcards should be returned to the Alternator between June 25 - 29 during gallery hours. If you are unable to drop off your completed postcards during these times, please email info@alternatorcentre.com to make alternate arrangements. Please identify your work by completing the following inventory form and return when dropping off artworks.

Postcard Project Inventory

STUDIO SALE

The public will take home purchased Studio Sale artwork with them immediately. As such, we ask that artwork is dropped off in good condition and ready to hang or install. For instance, artwork that is on warped frames or that does not have required hardware (i.e. wire) for hanging will not be accepted. 

Label​ ​and​ ​identify​ ​your​ ​artwork​ by filling out and attaching labels below.

Studio Sale Label Form (PDF)

Labelled artwork can be dropped off at the Alternator between June 25 - 29 during regular gallery hours. If you are unable to drop off your work during these times, please email info@alternatorcentre.com to make alternate arrangements.

All​ ​artwork​ ​identification​ ​must​ ​be​ ​included and​ ​securely​ ​attached​ ​to​ ​your​ ​art​ ​at​ ​the​ ​time​ ​of​ ​drop-off. Please be sure to note which of your submitted pieces are your 2 guaranteed works, and which is an additional work submitted for jurying.

Step​ ​4:​ ​Sales

75% of any sales go directly to the artists after the end of the exhibition. Cheques are typically delivered in September. Please note, new this year, total payable earnings under $20 will be automatically credited towards future membership payments.

Additionally, participants will have the option to donate their earnings to the gallery.

Important Dates

Exhibition Dates: July 12 - August 10 

Opening Reception / 35th Birthday Party: July 12, 6-8pm

Submissions open: May 6 

Submissions close: June 23

Blank Postcard Pickup: May 7 - June 22

Postcard Making Members Event: June 6 & 20 (more details to be announced!)

Artwork dropoff: June 25 - 29

Artwork Pickup: August 13 - 17

Cheques sent out: September TBD

Still need convincing? Take a look at exhibition photos from previous years!

The Alternator Centre for Contemporary Art, in partnership with British Columbia’s Office of the Human Rights Commissioner, is pleased to present From Hate to Hope, an immersive pop-up exhibition.

This special exhibition is the culmination of more than a year’s worth of work in the BCOHRC office’s annual public campaign which was inspired by themes in the From Hate to Hope report. In August 2021, B.C.’s Human Rights Commissioner Kasari Govender launched an inquiry into the rise of hate in B.C. during the COVID-19 pandemic. The March 2023, findings and recommendations were clear: hate will increase in times of societal crisis unless we are all decisive in addressing it.

The exhibit features an immersive audio-visual experience that captures the voices, images, and art of community youth and painters as well as the commissioner who joined together to draw inspiration from the words of British Columbians across the province. Their hope is to spark important conversations on these themes and ensure they keep breathing life to the stories they heard. This is in addition to their broader work in addressing systemic discrimination in the province, and their continued work to ensure the Government of BC implements the recommendations of the report. From Hate to Hope is a traveling exhibition. First opening in Vancouver, this exhibition will be held at the Alternator before moving onto Fort St. John, and Nanaimo.

From Hate to Hope will be on view at the Alternator during our regular hours from May 2nd - 4th!

This exhibition expands upon a series of four murals that were created by artists across the province.

The Vancouver mural was created by Paige Jung. The Fort St.John mural was created by Raven-Tacuara Art Collective members Stephanie Anderson and Fancundo Gastiazoro. The Keremeos mural was designed by Haley Regan and completed in partnership with the South Okanagan Immigrant & Community Services One World Youth Crew. The Nanaimo mural was created by Humanity in Art members Lys Glassford and Lauren Semple.

BC’s Office of the Human Rights Commissioner exists to address the root causes of inequality, discrimination and injustice in our province by shifting laws, policies, practices and cultures. We do this work through education, research, advocacy, inquiry and monitoring.

B.C.’s Human Rights Commissioner, Kasari Govender, started her five-year term on September 3, 2019. Since then, our Office has been working swiftly to build a strong team, to listen deeply to the concerns of British Columbians, to issue policy guidance to protect the human rights of underserved communities and to lay a rights-based foundation for our work. As an independent office of the Legislature we are uniquely positioned to ensure human rights in B.C. are protected, respected and advanced on a systemic level throughout our society.

The Alternator Centre for Contemporary Art invites applications for the position of:

COMMUNITY OUTREACH ASSISTANT

Application Deadline: May 13 2024, midnight

Anticipated Contract Start Date: June 4 2024

Contract length: Fixed (10 weeks. 35 hrs/week)

Remuneration: $17.40/hr

This is a government funded employment opportunity through the CANADA SUMMER JOBS program. As such, all applicants must meet eligiblity requirements for the CANADA SUMMER JOBS program. 

The Alternator Centre for Contemporary Art is a non-profit artist-run centre in Kelowna, BC. Our mandate is to support the development of innovative contemporary work by local, national and international emerging and mid-career artists. The Alternator operates two exhibition spaces, hosts professional development workshops and facilitates community-based arts events.

Working with the Artistic and Administrative Director, the employee will participate in a range of arts-based community outreach activities.

The preferred applicant will have experience in visual and/or media arts, and a familiarity with artist-run centres. They are a highly responsible team player with excellent interpersonal and organizational skills and are able to demonstrate personal initiative and leadership within a collective environment. 

Major responsibilities include: supporting the Alternator’s community outreach activities, assist in daily administrative duties including volunteer coordination, general exhibition installation and maintenance, and offer support to the Artistic and Administrative Director and Board of Directors.

Assets include:

• Excellent oral and written communication skills.

• A familiarity with the Mac environment, including Word, Excel, Adobe CS and template-based web design platforms.

• Physical ability and knowledge to perform preparatory and installation work.

• Ability to work with a team as well as independently.

• Flexibility to work daytime, evening and weekend shifts.

To apply, submit a single PDF document (titled ‘YourFirstNameYourLastname.pdf’) containing a cover letter, resume and contact information for two references to HR@alternatorcentre.com. Please write 'Attn. Hiring Committee' in the email subject line. Deadline May 13 2024, midnight. Applications will not be accepted in person.

The Alternator Centre for Contemporary Art encourages applications from under-represented cultural workers of all backgrounds including, but not limited to, Indigenous, Black, and racialized persons; refugee, newcomer and immigrant persons; two-spirit, LGBTQ+ and gender non-binary persons, persons with diverse abilities, and those on low-incomes.

We thank all who express interest in this position, however, only those selected for an interview will be contacted.