Angela Hansen

Angela is an encaustic sculptor and ceramicist. She has worked with encaustic, a medium made of beeswax and tree resin, for nearly 25 years; its versatility of applications drives her art-making practice of both 2D and 3D works.

Angela’s work pushes the boundaries of traditional art-making practises through the unusual and innovative use of encaustic medium combined with natural materials and textiles. Having spent a large portion of her childhood outdoors in either the forests of the Cariboo Chilcotin or on the beaches of Whiterock, her deeply imbedded wonder of the natural world and biophilic tendencies are evident in the biomorphic forms and imagery found in her work expressing the biodiversity, strength, and fragility of the planet. Angela’s installation work questions environmental and social issues of the Anthropocene era - specifically the effects of global warming.

With a BDes from Emily Carr University of Art + Design and a BEd from the University of Victoria, Angela has developed a multidisciplinary practice that spans over two decades. Her work addresses urgent environmental and social issues of the Anthropocene, exploring the impacts of global warming and the complexities faced by modern women. Hansen’s installations and artworks have been exhibited across Canada, Europe, and the United States, including “BREATH” at the Alternator Centre for Contemporary Art, “BRINK” at the Kelowna Art Gallery, and “CONSUME” at Vernon Public Art Gallery. Her work is part of the permanent collection at the Encaustic Art Institute and Museum in Santa Fe. In 2024, she received Juror’s Choice for “Spiral Pod” and curated the international exhibition Global Warming is Real, further establishing her voice in contemporary encaustic art.

Barbara Bell

Barbara’s work explores the tension between intention and surrender through the fluid nature of ink.

Rather than imposing complete control, she collaborates with the medium, responding intuitively to its unpredictable behaviour. This process embraces uncertainty as a creative force, allowing unexpected compositions to unfold through transparency and movement. The paintings become a meeting point between chance and experience, leaving space for the unscripted. Each painting’s uniqueness reflects the conditions of its making. No two can be the same, just as no two lives are shaped by the same relationships and environments.

While each work begins in Barbara’s hands, its final interpretation takes shape through the viewer’s gaze, informed by the depth of their own history and lived experience. In this way, my paintings exist not as fixed statements, but as evolving encounters between artist, material, and audience. They become an apt representation of life.

The works featured in The Edit 2026 are from Barbara’s Moment by Moment Series. They reflect how we experience life, piecing together the moments we experience and rearranging, when necessary, to form the picture that becomes our memory. The memory of those moments are shaped by our relationships, history and perspective and we fit them into a picture that we can live with or learn to live with. It may or may not be accurate, but it will always be ours.

Barbara Bell is an abstract artist who loves to work in the limitless and freeing world of inks.

Exploring her creativity led her to the discovery of this colourful and expressive medium a decade ago. A simple process which, through relationships & interactions, creates stunningly complex pieces that can only be fully interpreted by the viewer, influenced by their personal preferences & experiences in life. She appreciates the unlimited expression of this bold medium, producing work that has been described as suspenseful, intriguing and fascinating.

Barb has been painting for over 50 years, but when she found inks she could have thrown everything else in her studio away. She didn’t, but she says she could have.

She has studied under several local and international artists, and she has an affinity to learn from the early abstract expressionists. Her travels, wherever they take her, include galleries and museums at every locale.

Her paintings, cards, scarves & jewelry can be found in galleries & stores throughout the Okanagan as well as online at www.impressiveart.ca. Her working studio in Lake Country is open for visits.

Carol Schlosar

How did the natural process of a woman aging—a testament to her endurance, experience and strength—become one of society’s greatest stigmas?

For the past ten years, this body of work, Pages from the Book of Women has challenged the stereotypes that diminish older women and celebrated how we answer back. The women portrayed and the community contributors are all over 60; their faces, words and humour give this inquiry its substance. And as an older woman myself, I bring feminist curiosity, lived experience and a taste for irreverence.

Through painting, printmaking and found objects, I explore the tension between older women’s lives and the cultural stereotypes imposed on them. Large-scale portraits of artists in their 80s give their continuing creative lives a commanding physical presence. Their scale asks viewers to pause, look closely and consider whose lives receive attention and whose are routinely overlooked.

No One’s Going Quietly transforms “found” purses into little black accessories of wearable rebellion. Screen-printed with women’s street-level commentary alongside words from poets, philosophers and feminists, these familiar objects become unexpected platforms for opinions.

Aging has given me more material, sharper questions and fewer reasons to hold my tongue. My work draws on the tension between how society sees older women and how we see ourselves—in all our complexity, authority and audacity. Each work contributes another page to the ever-evolving Book of Women, making one thing increasingly clear: no one’s going quietly.

Carol Schlosar is an artist, teacher and musician rooted in Sicamous, British Columbia. She earned her Bachelor of Fine Arts from Thompson Rivers University as a decidedly mature student and continues her independent study with Scholars Without Institutions, a six-artist collective grounded in research, exchange and creative inquiry. Her practice spans painting, sculpture, printmaking and installation.

Schlosar explores the shifting identity politics of older women, the consensus and conflict of personal space, and women’s responses to an increasingly threatened natural world. Her ongoing body of work, Pages from the Book of Women, challenges cultural expectations that diminish women as they age. Drawing on lived experience and layered symbolism, she brings together personal narrative, social commentary and visual disruption. Playfulness and critique work together as her subjects claim visibility, power and the upper hand.

Her practice continues to develops through sustained research, experimentation and many, many conversations with older women. Their participation brings individual experiences and voices into an inquiry that continues to evolve.

Schlosar’s solo and collaborative work has been exhibited across British Columbia. In 2025, her painting Vivian Lindoe — Fierce Female Artist was selected as a finalist for the Salt Spring National Art Prize, continuing her exploration of warrior women and their refusal of invisibility.

Carol Schlosar

How did the natural process of a woman aging—a testament to her endurance, experience and strength—become one of society’s greatest stigmas?

For the past ten years, this body of work, Pages from the Book of Women has challenged the stereotypes that diminish older women and celebrated how we answer back. The women portrayed and the community contributors are all over 60; their faces, words and humour give this inquiry its substance. And as an older woman myself, I bring feminist curiosity, lived experience and a taste for irreverence.

Through painting, printmaking and found objects, I explore the tension between older women’s lives and the cultural stereotypes imposed on them. Large-scale portraits of artists in their 80s give their continuing creative lives a commanding physical presence. Their scale asks viewers to pause, look closely and consider whose lives receive attention and whose are routinely overlooked.

No One’s Going Quietly transforms “found” purses into little black accessories of wearable rebellion. Screen-printed with women’s street-level commentary alongside words from poets, philosophers and feminists, these familiar objects become unexpected platforms for opinions.

Aging has given me more material, sharper questions and fewer reasons to hold my tongue. My work draws on the tension between how society sees older women and how we see ourselves—in all our complexity, authority and audacity. Each work contributes another page to the ever-evolving Book of Women, making one thing increasingly clear: no one’s going quietly.

Carol Schlosar is an artist, teacher and musician rooted in Sicamous, British Columbia. She earned her Bachelor of Fine Arts from Thompson Rivers University as a decidedly mature student and continues her independent study with Scholars Without Institutions, a six-artist collective grounded in research, exchange and creative inquiry. Her practice spans painting, sculpture, printmaking and installation.

Schlosar explores the shifting identity politics of older women, the consensus and conflict of personal space, and women’s responses to an increasingly threatened natural world. Her ongoing body of work, Pages from the Book of Women, challenges cultural expectations that diminish women as they age. Drawing on lived experience and layered symbolism, she brings together personal narrative, social commentary and visual disruption. Playfulness and critique work together as her subjects claim visibility, power and the upper hand.

Her practice continues to develops through sustained research, experimentation and many, many conversations with older women. Their participation brings individual experiences and voices into an inquiry that continues to evolve.

Schlosar’s solo and collaborative work has been exhibited across British Columbia. In 2025, her painting Vivian Lindoe — Fierce Female Artist was selected as a finalist for the Salt Spring National Art Prize, continuing her exploration of warrior women and their refusal of invisibility.