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Wil Aballe

@wil.aballe

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1375 Railspur Alley on @granville_island.
Upcoming: @lyse_lemieux_studio; @laurainemak; Art Toronto SOLO with @karinjones.studio
Since 2013.

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Lyse Lemieux at Wil Aballe, Vancouver
“Habiller une fugue / Dressing a fugue”
September 9 – October 17, 2026
Photos: all images copyright and courtesy of the artist and Wil Aballe Art Projects | WAAP, Vancouver
@wil.aballe @lyse_lemieux_studio by @wil.aballe

ART TORONTO 2026 @art_toronto
Karin Jones @karinjones.studio
SOLO Section, Booth S4
Metro Toronto Convention Centre

The mason jar is among the most humble objects of North American domestic life: mass-produced, inexpensive, and made to preserve the harvest, storing the labour of one season against the scarcity of the next. By choosing it as a readymade, Karin Jones takes up the lineage of the found object while turning it in a different direction. She alters it by hand, through hours of skilled work. Her attention falls on the lid, the part of the jar that seals and protects, that is twisted open and closed, worn by handling, and usually thrown away or replaced. Jones transforms this overlooked steel disc with damascene, an ancient technique in which fine wire and thin sheets of pure gold and silver are hammered into a finely cross-hatched metal surface. Here it crowns a vessel of thrift and necessity, honouring the often unrecognized domestic labour that the jar has always held. The technique itself is slow and exacting, learned through decades at the bench.

Karin Jones trained in Jewellery Art and Design at Vancouver Community College, worked for more than twenty years as a goldsmith, completed an MFA at NSCAD University, and pursued apprenticeships abroad in traditional metalworking. Damascene of this calibre is rarely seen in contemporary art in Canada.

Visit us at Art Toronto this weekend #toronto by @wil.aballe

@simranpreet_anand exhibting @wil.aballe on @granville_island

Guru guru Jesus jesus 2 of 2 pieces on display.

Read more from/about the artist in @rungh.means.colour

https://rungh.org/artists/simranpreet-anand/

@canada.council
@bcallianceforarts
@western_front
@paarc
@surreyartgal
@artgalleryvic
@sikhheritagemuseumofcanada
@sikh.research.institute
@sikhfedcanada
@sikhheritagemonth
@baaznewsorg by @wil.aballe

@simranpreet_anand
@wil.aballe gallery on @granville_island

Guru guru Jesus jesus posture shifting views.

Read more by/about the artist @rungh.means.colour

https://rungh.org/artists/simranpreet-anand/

@canada.council
@bc_museums_association
@paarc
@sikhheritagemuseum
@cdn.heritage
@savac_
@artgalleryvic
@agotoronto
@sirvanderbeek
@baaznewsorg
@sikh.research.institute
@sikhfoundationofcanada by @wil.aballe

Lyse Lemieux’s @lyse_lemieux_studio recent works on paper and panel are built from a deliberately limited vocabulary. Here, rounded, irregular masses are suspended from and linked by thin lines. The structures evoke perhaps the botanical, or perhaps the anatomical: stems and seed pods, vessels and organs. They also suggest the diagram, whether a molecular model, a network or a lineage.

The ink drawing on the left establishes the motif. The rest of the panels test it across materials, from the flatness of flashe paint to dense crayon worked over saturated grounds, where the forms take on an almost textile density. This relationship to cloth and the body has run through Lemieux’s practice for decades.

The works sit in conversation with a modernist lineage of suspended and biomorphic form, from Calder’s mobiles to Arp and Taeuber-Arp, and with the intimate, process-driven abstraction of Louise Bourgeois’s late drawings. What is remarkable is what they are able to evoke about tension: each form is held, weighted and dependent on the others.

On view at Wil Aballe until Saturday, 12-5 PM Tuesday to Saturday, 1375 Railspur Alley, Granville Island. @granville_island by @wil.aballe

Kafka’s Odradek is made of thread, spool, a scrap of wood; it is a creature with no home or no end.

Lyse Lemieux @lyse_lemieux_studio has made some of her own.

When you look at one of Lemieux’s bundles, you can recognise the hand of her earlier paintings in a painted strip, then notice that the strip is perhaps load-bearing and holding the whole thing up. They’re bundles of her studio’s remains, painted strips torn from her own canvases, so the paintings return as material. They’re also indicative of a lifetime’s accumulations: a shoe from her mother’s closet, a taxidermied bird lifted from a hat her grandmother once wore, and strips of raccoon fur like the kind French-Canadian women wrapped around themselves through harsh winters. These objects are reconstituted as sculptures so that you notice them and attribute new value to them.

Final week for Lyse Lemieux’s “Habiller une fugue / Dressing a fugue” is this week, closing Saturday, October 17th. We are open daily until Saturday, 12-5 PM. 1375 Railspur Alley @granville_island by @wil.aballe

𝗜𝗻 𝗧𝗵𝗲 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 | 𝘄𝗶𝘁𝗵 𝗪𝗶𝗹 𝗔𝗯𝗮𝗹𝗹𝗲 𝗔𝗿𝘁 𝗣𝗿𝗼𝗷𝗲𝗰𝘁𝘀.
@wil.aballe is exhibiting at Art Toronto 2026, SOLO Section, Booth: S4
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Wil Aballe is a contemporary art gallery on Granville Island in Vancouver, founded in 2013. The gallery's program brings together emerging, mid-career and historically significant figures associated with Vancouver's conceptual and artist-run traditions of the 1960s and 1970s, among them bill bissett, Glenn Lewis, Vincent Trasov, Hank Bull and Joan Balzar. By presenting these generations in dialogue, Wil Aballe looks at how experimental practices developed on the West Coast continue to shape contemporary art in Canada. The gallery has a particular interest in work that moves across disciplines, including painting, sculpture, textiles, poetry, performance and craft-based media. Over more than a decade, Wil Aballe has developed a sustained exhibition history and works closely with artists, estates, institutions and collectors in Canada and internationally, with collectors in Belgium, Germany, the US and elsewhere. Through exhibitions, art fairs and publishing, the gallery aims to deepen understanding of Vancouver's contributions to contemporary art while supporting the careers of the artists it represents.
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Meet @wil.aballe and over 100 other galleries, October 29–November 1 at Art Toronto.
🎫Get your tickets today at arttoronto.ca. by @wil.aballe

@wil.aballe How does identity get constructed, how does a person become perceived wholly? We assemble ourselves, stripes from one side of the closet, a little red for confidence, a floral we are utilizing as a flourish, and so on.

A red painting in Lyse Lemieux’s new exhibition seems to work similarly. Striped pieces, slabs of black, flashes of red and a patch of blossoms are collaged together and held by the most tenuous line, yet a figure is immediately recognizable as striding out of it confidently. Like the rest of us, the figure is a construction, put together from parts and presented to the world.

Decades earlier, a similarly strident figure, Michael Snow’s Walking Woman, gave us one unbroken silhouette. Lemieux’s woman comes in pieces, and she looks more like us for it. Similarly to the other large, green painting in the exhibition, her linework does the work. The two paintings seem to ask: How little does it take to make a person present?

On view now at Wil Aballe Art Projects, Granville Island.

📍 1375 Railspur Alley, Vancouver
Tuesday to Saturday, 12-5 PM, until October 17
@lyse_lemieux_studio @granville_island #lyselemieux #wilaballegallery by @wil.aballe

How does identity get constructed, how does a person become perceived wholly? We assemble ourselves, stripes from one side of the closet, a little red for confidence, a floral we are utilizing as a flourish, and so on.

A red painting in Lyse Lemieux’s new exhibition seems to work similarly. Striped pieces, slabs of black, flashes of red and a patch of blossoms are collaged together and held by the most tenuous line, yet a figure is immediately recognizable as striding out of it confidently. Like the rest of us, the figure is a construction, put together from parts and presented to the world.

Decades earlier, a similarly strident figure, Michael Snow’s Walking Woman, gave us one unbroken silhouette. Lemieux’s woman comes in pieces, and she looks more like us for it. Similarly to the other large, green painting in the exhibition, her linework does the work. The two paintings seem to ask: How little does it take to make a person present?

On view now at Wil Aballe Art Projects, Granville Island.

📍 1375 Railspur Alley, Vancouver
Tuesday to Saturday, 12-5 PM, until October 17
@lyse_lemieux_studio @granville_island by @wil.aballe

In this large, masterful green painting, Lyse Lemieux @lyse_lemieux_studio conjures a woman using only lines and collaged strips of fabric; black lines run continuously from one element to the next, tying the fragmented composition together to suggest a torso. The two ink drawings on either side show how she arrived at this: so much figure, evoked with so little.

The striped dress has been a motif in her work since the 1980s. It appears in a collage made in 1987, which was reproduced in the Burnaby Art Gallery @bbyartgallery catalogue for her solo exhibition there, where the cut-and-reassembled stripes already show her inquiry of the body as pattern and form.

On view now at Wil Aballe, Granville Island. @granville_island

1375 Railspur Alley, Vancouver
Tues-Sat, 12-5 PM until October 17, 2026 by @wil.aballe

#billbissett has been breaking open language, image, and form for over 60 years. At 86, he’s still doing it.

This survey brings that extraordinary range into view: paintings from the early 1960s to the present, more than 70 books of his own work, and the publishing history that helped shape a movement through blewointmentpress. A favourite of Jack Kerouac @jackkerouaccenter, a flashpoint in Canada’s 1970s censorship battles, and now a Member of the Order of Canada @orderofcanada, bissett remains one of the country’s most singular cultural figures.

Adding to the occasion, six of the paintings on view were also included in his 1984 solo retrospective at the Vancouver Art Gallery @vanartgallery, curated by Scott Watson.

Final week. Closing Saturday, September 5 at the gallery, 1375 Railspur Alley on @granville_island by @wil.aballe

Rhys Edwards paints like someone looking through the glow of a screen.

Drawing on Dutch still lifes, his works carry their precision and composure, but not necessarily their surface texture. Instead, they remain deliberately flat: shaped by the visual logic of smartphones, computer monitors, low-res Barber Beats album covers, internet images, and even digital reproductions of old master paintings. Edwards paints them with painstaking care, stripping away visible brushwork so the surface feels almost virtual.

The result is a painting that holds two histories at once: the tradition of still life, and the flattened image culture through which we now inherit it.

Final week to see the exhibition, closing Saturday, September 5 at the gallery, alongside bill bissett’s survey exhibition 1375 Railspur Alley on @granville_island by @wil.aballe