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Monte Clark

@monteclarkgallery

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Vancouver based art gallery

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Thomas Müller @karin_bubas

Karin Bubaš
Thomas Muller, Crying, 2026
Chalk pastel on velour paper
16 x 12 in
40.6 x 30.5 cm

📸 @vanspecial by @monteclarkgallery

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4 days ago

Farther From
2026
Collected and stripped telecommunications wires on canvas
60” h x 43” w
Photography by @racheltophamphotography

Part of my solo exhibition, Vancouver Now! on view @vanartgallery until November 22 ✨

#emilyhermant #vancouverartgallery #monteclarkgallery #sculpture #textiles taken in Vancouver Art Gallery by @monteclarkgallery

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5 days ago

Artist Talk: Emily Hermant
Sat Sep 19, 2026 | 2–3 PM at @vanartgallery

🔗 RSVP via link in bio

Photo credit: Vancouver Art Gallery

@emilyhermant taken in Vancouver Art Gallery by @monteclarkgallery

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18 days ago

Opening Saturday: @waddell.stephen Effulgent Doom
Reception from 3 to 6pm

Stephen Waddell
Black Swan, 2026
Archival pigment print
46 x 58 in
116.8 x 147.3 cm
Edition of 3 taken in Monte Clark by @monteclarkgallery

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19 days ago

Opening Saturday: Stephen Waddell, Effulgent Doom
Reception Sept 12, from 3 to 6pm
@waddell.stephen

September 12–October 10, 2026

At first glance, Stephen Waddell’s photographs are documents of quotidian moments. A girl in a pink bathing suit appears to make her way to the beach; a man pauses before getting out of a car. This depiction of subjects in mid-narrative emphasizes a broader context from which the images have been distilled. It imparts a tension that pivots around viewers, either suspending or upholding disbelief in an ongoing, but unknown, narrative. Waddell presents his figures as replete with a purposeful purposelessness. Moreover, for the artist, and for the knowledgeable viewer, these images are saturated with references to art history and photography. By capturing the essence of Édouard Manet, Edgar Degas and Gustave Caillebotte in subject matter discovered through his rambles, Waddell melds and mutually enriches the histories of painting and photography. Given these aspects of his work, it is not surprising to discover that Waddell began his artistic career as a painter. In 1990, however, a shift occurred to other media, when he began to explore the urban environment with a Polaroid camera in order to learn more about composition for his painting studies. He also used a Super-8 camera, to film people, seeking to understand the human figure in the modern environment, a preoccupation of many artists since the mid-19th century. Photographs such as Man With a Red Sash recall the paintings of 19th-century Realist artists who favoured street types, labourers and the picturesque proletariat. To find perfectly composed scenes en pleine air entails a great deal of looking, and Waddell considers this physical labour of exhaustive searching to be a major component of his photographic practice.

– Andrea Kunard, Associate Curator of Photographs, National Gallery of Canada, Ottawa, Ontario

Stephen Waddell
Hermes 1, 2024
Silver gelatin print
56 x 44 in
142.2 x 111.8 cm
Edition of 3 taken in Monte Clark by @monteclarkgallery

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20 days ago

The gallery will be closed over the long weekend, Sept 5-7th.

@holgerkalberg
Figure with potted plant, 2026
Oil on canvas
29 1/4 x 27 1/4 in
74.3 x 69.2 cm by @monteclarkgallery

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24 days ago

@vanartgallery Interim Co-CEO & Curator at Large @curator_on_the_run in conversation with @emilyhermant on CTV about Vancouver Now!, the Gallery’s new exhibition series, inaugurated with a solo presentation of Hermant’s work, on view through November 22, 2026.

🔗 Link in bio to watch the full interview. by @monteclarkgallery

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2 months ago

Vancouver Now! @emilyhermant presented by the @vanartgallery opens this Friday!

Since arriving in Vancouver in 2016, Hermant has steadily built a reputation as an artist to watch. The exhibition will highlight her weavings, which are laboriously crafted from the wires and data cables of the technologies that envelop us, thoughtfully shifting the speed and focus of our attention. They invite viewers to move from the frenetic virtual experiences that increasingly characterize our daily lives to an unhurried and surprisingly aesthetically satisfying consideration of the material basis of that simulated world.

Although the works are beautiful in reproduction, their full effect can be experienced only in person. As they are approached, each work, which initially appears like an abstract or highly stylized painting or textile, transforms to reveal its materiality as a structure of coloured, insulated wires and data cables.

Featured:
Emily Hermant, photographed in her studio, 2024. by @monteclarkgallery

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2 months ago

The Polygon is pleased to release a limited-edition catalogue on the occasion of Greg Girard’s first-ever career survey, featuring a unique 1/1 tipped-in photograph on a linen book cover, encased in a blue leatherette case.⁠
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This boxed set is a limited edition of 25, and is signed by the artist. ⁠
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Published by The Polygon Gallery and Magenta Foundation.⁠
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You can learn more through the link in our bio.⁠
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Or make an appointment for a viewing by emailing info@thepolygon.ca⁠
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Greg Girard is on view now at The Polygon until October 25, 2026. ⁠
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Image credits⁠
Neighbourhood Demolition, Shanghai, 2002⁠
Jukebox and Umbrella, Vancouver, 1975⁠
Sheep and Power Station, Dongying, Shandong, 2007⁠
Platform Conductor, Tokyo, 1976⁠
Kowloon Walled City, from SE Corner, Hong Kong, 1987⁠
Man with Cigarette, San Francisco, 1974⁠
Man in Red Sweater Fishing, West Lake, Hanoi, 2010⁠
Balloons Lotus Hotel, Vancouver, 1982 by @monteclarkgallery

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2 months ago

Built through accumulation, response, and revision, @jonsyme paintings emerge through dense layers of pigment. Communities of colour gather, disperse, intersect, and collide, suggesting flowers, root systems, weather, horizons, and imagined landscapes. Suspended between becoming and undoing, the works invite reflection on our interconnectedness, where the microscopic and the cosmic echo one another.

If you haven’t yet had the chance to view Jonathan Syme’s ‘Field Conditions’, you’re in luck—we’re extending the exhibition through early August.

Featured images: @jonsyme Field Conditions, Installation views, Monte Clark Gallery, 2026 taken in Monte Clark by @monteclarkgallery

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2 months ago

‘Night Pollinator’ unfolds like something encountered after dusk—drawn by instinct rather than light. Layers of pigment gather and dissolve, suggesting a hidden ecology where forms dance in the dark. 🐞

@jonsyme
Night Pollinator, 2026
Oil on canvas
20 x 17 in
50.8 x 43.2 cm

Jonathan Syme, Field Conditions, on view at Monte Clark Gallery through July 25, 2026. by @monteclarkgallery

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2 months ago

New video works by @owenkydd
Currently on view at @livingspacevancouver

Each piece begins as an observation: a room, a street, a window, a small arrangement of light and atmosphere. But the camera is only the first step. Once recorded, the image becomes a kind of digital material that can be adjusted, layered, or subtly interfered with until it behaves less like a document and more like a constructed surface.

“I think about these works as compositions in the literal sense: decisions about weight, rhythm, and spatial tension. Nothing dramatic happens, but nothing is fixed either. The image continues, and in that continuation small movements accumulate: a shift of light, a reflection that reorganizes space, a gesture or breeze that momentarily unsettles the frame.

What interests me most is the threshold between the found and the made. The camera anchors the work in the real, but digital adjustments pull it gently toward abstraction. The resulting images feel both familiar and slightly estranged, as if the everyday world were revealing a slower, more interior register.

In all of these pieces, I am trying to create a space where the smallest changes matter—where duration itself becomes the subject. The works offer a quiet but persistent invitation: to look for longer than necessary, and to notice what appears only when nothing is insisting on being seen.”

– Owen Kydd, 2026

Featured:

Owen Kydd
Acrylic Store, Afterimage, 2025
digital display
28.5 x 16.5 x 2.5 in
(Still from video)

Owen Kydd
Window, Afterimage, 2025
digital display
22 x 32 x 2.5 in
(Still from video) by @monteclarkgallery

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2 months ago