BFA student Kyla Smith working in the sculpture studio

Kyla Smith always knew she wanted to be an artist.

“When I was actually a very little kid, I used to draw pictures and try and sell them to my family because I wanted to be an artist, even from a very young age.”

It was a push from a teaching assistant, an alumnus from the fine arts program, in her high school that confirmed her choice to come to UBC Okanagan.

“She talked about how amazing the BFA program at UBCO was for her. I’d been considering a few places for art school, but I love the Okanagan, so chose to apply here.”

Smith decided to pursue a minor in art history after learning that taking just two additional courses, beyond the eight already required for the BFA program, would earn her an extra credential with meaningful future job benefits.

“Coming from a public-school background where art history focused mainly on well-known European artists, the colour wheel, and basic techniques, we didn’t learn any of the foundation behind art or how art developed as a practice or across different cultures,” she notes.

Her first‑year studies, which traced artistic traditions from early origins through the Renaissance, offered a foundational perspective she had never encountered before. This exposure introduced her to diverse cultural practices and provided new points of entry into the study of art.

Smith says that she finds art history compelling because continued study opens pathways for deeper exploration and expanded research opportunities. And in the spring of 2025, Smith chose to sign up for a Go Global Seminar to take two art history courses in Rome.

“I was excited that this was being offered – it was art history, it was in Rome, and it felt like one of those foundational places where art really flourished.”

The course was two weeks, totally hands‑on, with lectures four days a week—one class in the morning and one in the afternoon—and then we had three‑day weekends to do homework or just explore.

The trip felt like being on a guided tour of the entire city, according to Smith. They visited museums, ruins, churches, saw villas, walked the old city walls, and visited all these incredible sites.

“I think it was way more enriching than if I’d gone alone with no idea what to do, because the coursework gave me all the background I needed to fully appreciate everything. We also had to take photos every day and write about them, which helped me reflect more and really brought together mindfulness, school, travel, and actually living in the city as part of the culture.”

Kyla Smith with fellow students at Tiber Island, Rome, on the Go Global Art History and Visual Culture Seminar, spring 2025

Since coming to school and moving out of her childhood home, Smith notes that a number of things have influenced her artwork, including non-studio courses such as art history. Now in the third year of the program, Smith has chosen to work mostly in abstract drawing and sculpture.

She has been exploring more textiles, and art history has actually been heavily influencing her art practice. “In one of my art history classes, we talked about feminist critiques and queer critiques of art history, and those have really made their way into my practice this year.”

Her latest project was an installation of sewn placemats that she created using different women’s faces in her life. Each placemat was set on a table, then covered with a plate.

Kyla Smith’s “Placements” installation

“I had never sewn before, so this was a real learning experience for me. Both in the creation of the work and the subject matter.”

One of the things Smith says she has been thinking about her place in the world and her place in her own family.

“I’ve been reflecting on the labour that I’ve had to do in that environment,” she says. “Using the placemats and then covering the faces felt like such a clear reflection of how women’s work at home often gets hidden or taken for granted.”

Since living on her own, Smith says she has been thinking a lot about her role in her family.

“It’s made me reflect a lot on how society sees my role and how I was brought up to be a caretaker.” Kyla is using those ideas of gender roles in her current artwork, thinking about art history and how that’s influencing her work, and dealing with these kinds of gender dynamics.

“When I started the program, we were told to make mistakes, to try new things and break out of our comfort zone.”

Over these past two years, she has doing exactly that – trying new things and pushing herself. “Even though every project is not perfect, it’s been a really great learning opportunity.”

After graduation, Smith plans to go into an education program to teach at the secondary school level. Outside of the BFA program, she is taking courses in biology, math and English to have a second teachable subject.

In addition to her studies, Smith is also an avid volunteer in her community. Working with high schoolers in West Kelowna, she teaches public speaking and runs art programs.

With two teachable subjects taking shape, supporting youth in her community, and making art, a teaching program is simply the next step toward the career she’s imagined since childhood.

A group of researchers at UBC Okanagan is reimagining classroom practices as culturally sustaining and moving beyond traditional notions of academic English writing towards a more inclusive, asset-based, and globally representative learning environment.

Plurality, Linguistic Justice, and Decolonization, focuses on creating a framework to help instructors support multilingual learners (domestic and international students who speak more than one language) in their classrooms by viewing linguistic diversity as an asset rather than a deficit. The project is facilitated by Drs Anita Chaudhuri (UBCO, FCCS), Jordan Stouck (UBCO, FCCS), Jing Li (UBCO, Engineering), and Steve Marshall (SFU, Education).

Chaudhuri, Stouck, Li, and Marshall all teach a variety of first-year English and communications courses, and recognize that multilingual learners write and perform differently, yet much of the conversation recognizing this remains at the policy level or within composition networks.

Chaudhuri explains that in Canada, research exists on plurilingualism, racio-linguistic practices, Indigenous worldviews, and social justice, but there is no established framework to guide classroom application. With this in mind, the team is working to develop the PRISM framework, integrating plurilingual, racio-linguistic, Indigenous, and social justice perspectives for multilingual learners (PRISM).

“At UBC, anti-racist agendas and EDI principles are present, but resources often overlook how students’ linguistic patterns shape their writing,” she adds. “Ultimately, the goal is to rethink standard academic English, making it more inclusive and dynamic, recognizing that language is tied to power and diversity enriches learning.”

Assessment practices in first-year writing courses often emphasize standardized structures like topic sentences and thesis statements. While these conventions remain useful, the PRISM framework encourages flexibility, so instead of one-size-fits-all assessments, instructors can consider multimodal approaches, such as allowing oral presentations for students who excel in speaking encouraging students to mix languages (e.g., code-meshing), show genre awareness, and use multiple forms of expression or technological modes when they compose texts.

“Feedback should move beyond the “red pen” to become an ongoing process, using verbal or interactive methods,” says Chaudhuri.

To get the project off the ground, the team hosted a public speaker series in May 2025 featuring fifteen scholars from across the country who work in writing studies, rhetoric, communication, and first-year academic writing. While they used different terms such as plurilingualism, linguistic justice, translanguaging, code-meshing, the shared idea was clear: multilingual students’ languages, cultures, and transnational experiences should be treated as assets, not deficits.

“We found that these concepts really challenge this traditional way of understanding what it means for multilingual students, to use their own language and dialects as part of their identity and part of their learning process,” says Li. “Building on these theoretical lenses, our project aims to create practical resources such as assignments, activities, and assessment tools for instructors to apply in their classrooms.”

Stouck notes that including student perspectives is essential. At the May speaker series, students acted as moderators and were asked to reflect on how the ideas resonated with their experience as university students.

“We want to get the viewpoints of students to understand if this approach it is valuable or useful for their learning at university, not just in theory but in practice,” she says. “It was really interesting to see how this material that we are trying to translate from research into classroom practice resonates with students.”

The PRISM Framework website will become a centralized resource housing recordings, materials, and an evolving framework. This toolkit aims to make linguistic justice principles accessible to instructors through practical strategies, assignments, and culturally responsive activities. Graduate and undergraduate research assistants, along with a web developer, are creating content and animations to ensure accessibility. By connecting scholars’ ideas with classroom application, the project seeks to empower educators to value multilingualism and identity in learning while incorporating students’ full language resources.

Inspired by the May speaker series, staff in the UBC Okanagan Library including Jess Lowry, Academic Communication Consultant at the Centre for Scholarly Communication; Jo Scofield, Student Learning Hub Coordinator; and Rina Garcia Chua, Academic Integrity Program Manager, have compiled a list of supports and resources available for students, researchers, and faculty who want to embrace plurilingualism in their own work and communities.

This project is made possible with funding from a SSHRC Connections Grant, UBC Hampton Research Endowment Fund, UBC StEAR funds, and supported by The Okanagan School of Engineering, the Faculty of Creative and Critical Studies, and graduate and undergraduate students Naeem Nadaee (UBCO), Ru Yao (SFU), Harper Kerstens (UBCO), Marcus Hobkirk (UBCO), Eve Kasprzycka (UBCO) and Mark Lovesey (UBCO).

Detached art studio at the Woodhaven Eco Culture Centre

The Woodhaven Eco Culture Center is a unique setting for research, creative scholarship and community connections.

Woodhaven isn’t quite wilderness, and it’s not quite the city either. Tucked just off the Gordon Street bus route in Kelowna, it’s a space where the sounds of birds mix with the hum of traffic, and where pine trees grow alongside deer passing by, and neighbourhood homes. This “in-between” setting, neither fully urban nor remote, makes Woodhaven a unique place to explore our relationship with the natural world.

That’s part of what drew faculty and graduate students from UBC Okanagan’s Faculty of Creative and Critical Studies (FCCS) to the site. In 2010, Creative Writing professor Nancy Holmes and then Masters of Fine Arts student Lori Mairs launched a year-long eco art project, under the umbrella of the Eco Art Incubator, in the Woodhaven Nature Conservancy, working closely with students and community members. During the course of the project, over 100 local artists and students, including musicians, performers, writers, sculptors and other visual artists created multiple works of art in Woodhaven Nature Conservancy.

The work was created in the park and in response to the park. The artwork left minimal impact on the natural environment, leaving nothing in the park and similarly removing nothing from the park, explains Nancy Holmes.

The project was a success, and the Regional District of the Central Okanagan (RDCO), which supported the initiative, saw the potential for Woodhaven to become a destination park.

“FCCS took on the space to support arts and humanities-based research focused on the environment, the Okanagan landscape, and the idea of place, naming the site, The Woodhaven Eco Culture Centre,” Holmes says.

Since 2012, FCCS has managed the property, which has a large heritage home with two self-contained apartments, providing opportunities for graduate students from FCCS to live during the academic year, and a place for visiting artists and scholars to stay during the summer months. There is a small studio cabin and art studio on the property that is an ideal place to hold seminars, small retreats, art projects, events, and meetings. The site has become a hub for author readings, art events, and outdoor learning activities for local elementary schools.

The list of writers and artists is a who’s who of eco-art in Canada: Tim Lilburn, Don McKay, Russell Thornton, Troy Nickel, Marlene Creates, Teresa Posyniak, Chantal Bilodeau, Peter Morin, Nicola Harwood, Joan Crate, Karen Zalamea, to name but a few; graduate students have run events on the site—Beat Salad and the Woodshed Reading Series; the Indigenous Art Intensive has held numerous celebratory events, faculty and visiting scholars have  run courses and workshops, hosted conferences such as Telling Stories: The Humanities in an Age of Planetary Agenda-Setting, book launches, and local organizations such as the Inspired Word Café have held events and festivals on the property.

In 2021, a formal artist-in-residence program was launched, inviting artist to spend dedicated time on their art practice living on the property using the studio cabin as a place to create their work. In 2024, a new 360 sq. ft. art studio was added to the property. Surrounded by mature fir and pine trees, the studio features 10-foot walls and large sliding glass doors to maximize natural light. It serves as a creative space for artists-in-residence, a venue for community gatherings, and a site for eco-cultural study.

The FEELed Lab research centre, located on the top floor of the main house, emerged during the pandemic as a space for graduate students and faculty to gather safely outdoors. What began as informal workshops evolved into a research initiative focused on building inclusive academic communities around environmental questions.

“The work explores what it means to be in good relationship with the land, particularly from settler, Indigenous, feminist, queer, and disability perspectives,” explains Astrida Neimanis, director of the FEELed Lab & Canada Research Chair in Feminist Environmental Humanities here at UBC Okanagan.

Rather than pursuing a large institutional lab, the idea of creating a community-based research space at Woodhaven just made sense to Dr. Neimanis.

“After my first visit to Woodhaven, the space immediately felt like the right fit, the sense of connection to the place was clear—it was quiet, natural, and welcoming,” she adds. “The upstairs suite had recently become available, and the timing aligned perfectly with my research focus on ecological relationships between people, places, and non-human life.”

Woodhaven’s informal, home-like atmosphere, makes it feel more like a community space than an institution. For many, it’s a place where they feel welcome and comfortable in ways they might not on campus. Over more than a decade, the Woodhaven Eco Culture Centre has become a vital space for creativity, research, and community engagement, grounded in a commitment to place, relationship, and inclusive environmental inquiry.

These spaces offer more than creative opportunities, they foster collaboration and innovation. The outdoor space, art studio, small cabin and studio apartment are available for rentals to UBC collaborators; students and employees. Alongside the summer artist-in-residence program, the FEELed Lab is starting an Arts and Science Residency, which will be piloted in March 2026, bringing artists and scientists together, creating new ways to connect research, creativity, and community at Woodhaven.

Woodhaven Art Studio Build

This time-lapse captures the entire process of building the detached art studio at the Woodhaven Eco Culture Centre, from demolition on October 16, 2023, to completion on February 29, 2024. Watch as the site transforms through groundbreaking, framing, roofing, and siding.

This project was overseen by FCCS Technical Director Philip Wyness and Property Manager Frances Brouse, and built by Quadro Industries’ Ryan and Adam Sawatzky, the 360 sq. ft. studio features 10-foot walls and large sliding glass doors to maximize natural light.

Dr. Megan Smith welcomes guests to the SCI_ART symposium at UBC Okanagan, October 7, 2025

Creative practice and scientific research can unite to address pressing challenges. Disciplines like art and science, which are often seen as separate, can thrive when brought together, this convergence fosters innovation, discovery, and collaborative problem-solving.

In October 2025, the SCI_ART symposium was held at UBCO Okanagan to create space for showcasing and discussing these intersections through deep conversations, moderated panels, and networking opportunities that connect universities, governments, artists, scientists, and the public. The program brought together artists, scientists, and thinkers to explore how creative practice can illuminate urgent issues of our time.

The event welcomed international artists from across the European Union, pairing them with local researchers and artists to engage in conversations around pressing global issues such as climate change, server infrastructures, coral reef rejuvenation, and broader ecological transformations. These discussions are not only timely but deeply rooted in the realities of our changing world.

SCI_ART Kelowna included international artists Felix Lenz (Austria), Borut Jerman (Slovenia), WhiteFeather Hunter (Canada), Ruby Singh (Canada), Swamp_Matter (Eva Garibaldi Netherlands / Ana Laura Richter Slovenia), Teresa Almeida (Portugal), Fiona McDonald (Ireland), Przemysław Jasielski (Poland), along with artists from UBC Okanagan including John Desnoyers-Stewart, Astrida Neimanis, Gao Yujie, and Megan Smith.

Felix Lenz’s keynote on the ecology of images set the stage, examining how power and perception shape our planetary future. In his performative lecture, Lenz interweaves research, screenings, and live elements around his latest essay film Brute Force. Culminating over five years of artistic investigation, the project critically examines how scientific knowledge production, digital infrastructures, and ecological systems are entangled.

SCI_ART was conceived of by Simon Pribac, Trade Commissioner for the Embassy of the Republic of Slovenia in Ottawa. The idea emerged from Pribac’s previous engagement in both science diplomacy and the cultural sector. In the EU there has been a lot of emphasis on interdisciplinarity and transdisciplinarity in the last years, especially in the convergence of art and science, he explains.

“When I started my position in Ottawa, a conversation on art and science initiatives with my German colleague led to the first event organized in collaboration between our two embassies—Slovenian and German—and local partner SAW Gallery,” Pribac says.

Denmark and Austria soon joined, and the project quickly grew into a 10+ country initiative involving international academic, cultural, scientific, and institutional stakeholders, revealing the immense potential when creativity and critical thinking meet to inspire innovation and empathy.

The Critical Futures Studio/Lab at UBC Okanagan became a natural host for SCI_ART, as the lab’s mission and curiosity about interdisciplinary collaboration resonated with the symposium’s objectives.

Megan Smith, director of the Critical Futures Studio/Lab at UBC Okanagan says that hosting SCI_ART in the Okanagan is a privilege, and the symposium aligns perfectly with the goal of fostering partnerships across Canada, the EU, and beyond.

“It provides a platform for gritty, necessary dialogue on critical global challenges, encouraging us to rethink creativity and the role of art in envisioning new futures and pathways for change,” she says.

“The great innovation happening at UBCO, combined with the fact that artists and scholars are travelling from around the world, highlights the global scope of creativity and collaboration in this field,” says Dr. Suzie Currie, UBCO Vice Principal and Associate Vice-President, Research and Innovation. “It was exciting to host an event that brings together such diverse artists and academics.”

Pribac says that the openness and forward-looking approach of the UBCO partners, particularly Dr. Megan Smith and the Faculty of Creative and Critical Studies, alongside the initiatives developed under the Critical Future Studio/Lab, were essential to SCI_ART’s success.

“Discovering Dr. Smith’s “All the Stars We Cannot See” sparked our first conversation, which quickly evolved into a collaboration and laid the groundwork for bringing SCI_ART to UBC Okanagan, a natural host with its interdisciplinary focus and vibrant regional ecosystem,” he adds.

Smith adds, “UBC Okanagan offers an ideal setting for such an event, situated in a hub of active and applied research. Bringing SCI_ART here to the Okanagan strengthens the region’s role as a hub for interdisciplinary research and creative experimentation.”

Pribac notes that after the first edition in Ottawa three years ago, the positive feedback from both the academic and cultural communities encouraged us to make SCI_ART a recurring initiative, and the UBCO edition has reaffirmed that decision.

“The broader vision is for SCI_ART to continue evolving into a recurring international platform that connects partners across Canada and beyond,” he adds.

Organizers are already exploring follow-up collaborations between participating artists, researchers, and institutions, with the goal of developing joint projects inspired by the initiative.

“It’s inspiring to see how artists, researchers, and institutions connect through SCI_ART as a platform for meaningful knowledge exchange and collaboration.” Looking ahead, Pribac and Smith would like to establish commitments to creative exchange among participants in the form of — new projects, research partnerships, and initiatives that grow organically from these encounters.

Outdoor Banner installation 2025

Each year, the Outdoor Banner Exhibition Program showcases 13 original works by UBCO students, staff, faculty and alumni. The banners are installed in the springtime on the light standards at the Rotary Commons—the greenspace between the Kelowna Art Gallery and the Rotary Centre for the Arts—and the Art Walk pathway between the Rotary Centre for the Arts and the Downtown Library. This project is made possible with the partnership and funding from the City of Kelowna.

The Outdoor Banner Exhibition program provides a unique and engaging way to showcase emerging artists work in the community. Since launching in 2020, the banner project has showcased the work of 65 students, faculty and alumni.

Have your artwork printed on a banner to be installed in the Artwalk downtown Kelowna (between the RCA and KAG). Banners will be installed in April or May (weather dependent) and up for the full year until they are replaced.

Banners will be printed to 26”wide x 48” high, in colour. (note, your work does not have to be this size, we will size to fit).  The artist’s name and Creative Studies department logo will be added to the lower right corner, visible to viewers.

FCCS alumni, staff, faculty and students in the BFA, BMS, BA with a major in an FCCS program, MFA, MA, or IGS in an FCCS theme, are all eligible to apply.

Deadline for submissions: January 25, 2026

Banner Submission Form

Please note, you are not eligible to apply if you have had your artwork on a banner in a previous year.

ECU students Kelsey, Payton and Katelyn with Dr. Robert Eggleston at the FCCS Dean’s Pancake Breakfast, fall 2025

Through literature and cultural studies, we engage with some of the most important issues of our time—sustainability, decolonization, the impacts of AI, power, and belonging.

Current UBC Okanagan students, Payton, Kelsey and Katelyn, all say that studying in the English and Cultural Studies programs have given them important critical thinking, reading, writing, and communication skills. Each of these students has discovered something unique and rewarding about studying in English and Cultural Studies.

Katelyn is a fourth-year English major, who says she chose English because she loved how wide-ranging it was, and she felt like she didn’t have to study just within one topic.

“In my English classes, I find there is so much culture and history involved in what we study that it isn’t just about reading books. It’s easy to feel passionate about the humanities because you naturally connect with the material—you’re studying human life, patterns, and the things people have cared about for centuries,” says Katelyn.

Fourth-year student Kelsey always knew she wanted to go into teaching after finishing an undergraduate degree.

“I always liked English in school, and since I knew I wanted to go into teaching and needed a teachable subject area, choosing English felt right—I enjoyed reading, it was a great major, and now I see how it gave me valuable skills in both my personal and academic life,” she says.

She adds that studying in the humanities provides important personal and academic skills such as communication and reading between the lines.  “The programs help you make meaningful connections across time, seeing how texts and characters from centuries ago still resonate today.”

Payton, who is in her fifth year, is completing a combined major in English and Cultural Studies. She always knew she was going to study English at University, and after taking a first-year Cultural Studies course as an elective, she was hooked, deciding to do a combined major.

She explains that there are many connections between these subjects. “Studying in English is more about the historical aspects, how we came to what we consider good literature and why we’ve deemed it that—whereas Cultural Studies looks at similar ideas through a modern lens, but using the same tools.”

In addition to their studies, these three students are also on the executive team for the English Course Union. Kelsey is the President, Katelyn is the VP Finance, Payton is the VP of Events.

The English Course Union (ECU) is a space not only for members of the English program but also for non-majors who want to be part of a community centered around reading, writing, and literary events.

For Payton, the opportunity to meet so many members of the English community and grow closer with faculty members has been one of the highlights of being part of the ECU. “Being part of the ECU has been a great place to build friendships, and strengthen connections with faculty,” she says.

The group has worked to create an inclusive environment that supports students from all disciplines. Events range from book clubs, book exchanges, masquerade balls and film nights, to writing groups and essay workshops.

“We had a lot of people want to join when we were at club days showcasing what the ECU is. They said things like we don’t get any time for reading, and they want to work on writing skills. So, we’ve really taken that into consideration when forming our events to make sure that they’re inclusive to all students on campus,” says Katelyn.

At the first book club meeting, Kelsey says that a group of first-year students who didn’t know each other ended up staying after the meeting just to keep talking and connecting with each other.

“It was great to see those connections forming right in front of us. I see them regularly on campus and we stop and say hello; I just love how we continue to create a meaningful space for these things to happen. I think community is really important at university because right now this is your home away from home.”

Payton also admits that she was very shy coming into university, noting that coming to this campus, which was close to home, was a safe option for her. And she has learned and grown so much during her time here.

When asked what advice she would give to her first-year self, she says: “Push yourself beyond what you think you’re capable of—making connections, talking to professors, joining clubs, and stepping out of your comfort zone can lead to personal growth and opportunities you never imagined.”

Studying in the humanities invites a dive deep into the stories we tell and the ways we tell them, through texts, media, and cultural narratives. With opportunities to engage in everything from literary analysis to digital storytelling and community-based research, these programs offer a rich and varied academic experience. Whether passion lies in literature, culture, or both, students find a place to explore, connect, and broaden horizons—an experience that can shape an academic journey, but personal life.

In this video Payton, Kelsey and Katelyn talk about their time at UBC Okanagan and the value of studying in English and Cultural Studies.

UBC Okanagan wants to help graduate students answer the age-old question: How can I change the world for the better?

The Master of Design program is a professional graduate degree program that will welcome its first intake of students next May. Applications are currently being accepted.

Before stepping into the program to tackle burning questions about the world around them, future students are invited to a virtual Ask Me Anything (AMA) session on November 28 to meet faculty and get their questions about the program answered.

Master of Design AMA Session

November 28

5:00 pm – 6:00 pm PDT

Register Now

“In the era of AI, global uncertainty and other seismic shifts in our economic and social fabric, how can any of us enact real change in the world around us?” asks Dr. Sabine Weyand, Associate Professor of Teaching in UBCO’s School of Engineering and MDes instructor.

“We often ask these big questions, but how can we actually solve them? This is precisely what the Master of Design program will empower students to do.”

“The Master of Design (MDes) is a professional graduate program for people who want to make a difference,” says Shawn Serfas, Creative Studies Department Head

“The program is rooted in critical design thinking, creative practice and design principles. And it’s important to note that students will not be tackling these challenges alone, nor hypothetically. They will be supported to tackle these real-world challenges side-by-side with our faculty and working closely with industry, community and public sector partners,” says Serfas.

The program is taught by faculty from both UBCO’s Faculty of Creative and Critical Studies and School of Engineering.

To help inspire and set students up for success, they will learn in a cutting-edge, custom-built new media lab.

The space is designed and outfitted to ensure students can make the biggest possible impression through the program and its pillars—design, innovation, creativity and entrepreneurship.

In a new video, Faculty recently shared their thoughts on what the program will help students achieve and how it fills a critical gap in design-thinking and change-focused professional masters programs in Canada.

Applications for the MDes program will be accepted until January 9 for international students and January 30 for domestic students.

Learn more at masterdesign.ok.ubc.ca.

Jim Kalnin in his studio, photo by Mary Gray

What: Selected works by Jim Kalnin
Opening reception: Saturday, September 27, 2025, 1:00 – 3:00 pm
Exhibition dates: September 27 to October 9, 2025, open weekdays from 10 am to 4 pm
Where: FINA Gallery, Creative and Critical Studies building, 1148 Research Road, UBC Okanagan

Jim Kalnin is an emeritus professor from our fine arts program, where he taught drawing and painting from 1987 to 2009. He was the founding Curator of Lake Country Art Gallery from 2010 – 2011. He has taught art in many community settings eager to convey his belief in the value of art in people’s lives. Jim has published two books on spirituality. He has exhibited widely in British Columbia, and been included in exhibitions in other parts of Canada, California and Sydney, Australia.

This exhibition is organized and curated by Shawn Serfas.

To attend the reception on September 27, please RSVP to fccs.ubco@ubc.ca.

Pulse has been gleaned — mostly — from Jim’s recent work. Taken together this collection offers a glimpse of the diversity of his visual enquiry. The criteria for this show was not a unified theme but rather is meant to express the more enduring and fundamental quality of his 70+ years of commitment to his art practice. Hopefully you’ll glimpse something of the energetic and elemental foundation of his engagement with life, spirit and Mystery.

Jim Kalnin was born in Pine Falls Manitoba in 1942, and spent his early years on a small farm near Lac du Bonnet, followed by several years in a company town (Point de Bois in the Canadian Shield) on the Winnipeg River. The next stop, at the end of a three-day train ride, was in Victoria BC where the population of his high school was double the population of the whole town he and his family had just left.

Once the agony of high school passed, Jim enrolled in the Vancouver School of Art (later to become Emily Carr College of Art and Design.) His five years of art school opened many creative doors including film animation — mostly on inventive projects sponsored by the National Film Board of Canada. These led to teaching animation at the Vancouver School of Art and at Kingait, a.k.a. Cape Dorset NWT in the mid 1970’s.

Travelling to new places soon became an addiction, with extended low-budget expeditions across Canada, to Central and South America and to Southeast Asia. Then wind-blown, he settled first in his old haunt near Nanaimo and then in the Okanagan Valley. After living for several years in a tiny community above Okanagan Lake, Jim went back to teaching art at Okanagan College which ultimately turned into a full-time position at UBCO.

His bachelor life also changed into the joys of family life when he met Lois Huey-Heck and her son Bryan. They became a family and settled in Oyama in 1990. Only after retiring from teaching at UBCO in 2009 did Jim’s ‘travel bug’ return. He and Lois kicked off a freer and easier life with an extended tour of southern Mexico into Guatemala (which they laughingly referred to as their first ‘geezers with back packs adventure’). That led to a number of winter sojourns, mostly staying in the same 500-year-old Casa in the same town, Patzcuaro, in the highlands of Michoacan. These sojourns gave them both the opportunity to focus on their art for extended periods from 2010-2020

In the 16 years since leaving the Creative Studies Department Jim’s life and art have continued the tradition of exploring inner and outer landscapes — only now much closer to home! Meditating for an extended period most every day, Jim continues to have a heart and a deep concern for the planet and all creatures with whom we share the pulse of Earth.

The process of ageing has become an adventure of its own for Jim. At almost 83 the shifts in energy and memory add challenge — but also an invitation to simply let things be as they are. It all makes space to live even more in the moment: to play on hands and knees with a six-year-old grandchild; to ever-more-slowly turn over the garden beds in spring; and still push paint across a bare expanse of canvas and see where it takes him.

Ali Mirzabayati

Ali Mirzabayati completed his MA in English at UBC Okanagan in the spring of 2024, supervised by Dr. Michael Treschow. His thesis explores Tolkien’s concept of “death as a gift” and how it connects with major themes like heroism, mortality, and the afterlife in his legendarium.

We asked Ali to discuss his thesis and what his experience was like at UBC Okanagan as a master’s student.

Why did you choose to apply to the MA in English program here at UBCO?

I always wanted to pursue a graduate program where I could research the works of J.R.R. Tolkien. When I discovered one of Dr. Michael Treschow’s articles on Tolkien, I was struck by how closely it aligned with my research interests. Our later Zoom conversation about Tolkien was inspiring, and his willingness to supervise my thesis became the main reason I chose UBC Okanagan. Alongside that, UBC’s outstanding reputation, exceptional academic environment, and the English program’s genuine commitment to diversity made it the perfect place for me to pursue my studies.

Tell us about the road to earning your UBC degree.

My experience at UBCO was excellent, as I had access to a wide range of courses and subjects beyond my own field. I enjoyed attending diverse lectures, and my teaching assistantship courses were especially rewarding. The department’s strong academic support made me feel secure and encouraged throughout my studies. UBCO’s campus may not be large, but it is a truly lovely place where you feel present and connected. Kelowna itself was another highlight—such a beautiful city with a wonderful vibe. I will never forget the afternoons I spent reading by Okanagan Lake.

Tell us about your thesis.  

In my thesis, I investigate how Tolkien drew inspiration from Old English and Scandinavian literary traditions, such as Beowulf and Norse mythology, which deeply influenced his portrayal of death and the heroic ideal. In addition, I analyze the ways Tolkien’s stories depict mourning and melancholia, using psychological theories to understand how his characters process grief and loss. This approach helps reveal the emotional depth of Tolkien’s world and how acceptance or rejection of death affects characters’ journeys and transformations. Through this study, I aim to shed light on the complex relationship between death, courage, and hope in Tolkien’s fiction, showing how his work offers a rich exploration of human mortality and the meaning we find in facing it.

How did your professors support you throughout your degree?

My supervisor, Dr. Michael Treschow, has offered unwavering support from the time I was in Iran through to my graduation and now as I continue my research as an independent scholar. I owe much of my academic growth to his deep knowledge, generosity, and care. His insights on Tolkien greatly inspired my work, and his Old English class—especially when he recited Beowulf—sparked my passion for the language and motivated me to learn it. Dr. Jon Vickery, another key mentor and member of my committee, has also provided invaluable guidance in my Tolkien studies. I was fortunate to serve as his teaching assistant for two semesters, which enriched my academic experience further.

You were recently featured on a podcast talking about your thesis on the works of J.R.R Tolkein. Tell us how being on the podcast came about, and what you shared about your work.

Entmoot Podcast, hosted by Kenny and Sam on Spotify, offers in-depth discussions on Tolkien’s legendarium, exploring not only the stories themselves but also their social, literary, and political dimensions. I was honored to be invited as a guest to discuss my thesis, which was an exciting opportunity to connect with fellow Tolkien enthusiasts. Having always been passionate about digital humanities, I saw this as a wonderful chance to share my research with a broader audience beyond academia. The experience allowed me to engage in meaningful dialogue about Tolkien’s work and its relevance today, reaching listeners worldwide and contributing to ongoing conversations in the field.

Aditri Chatterjee

Aditri Chatterjee completed a Bachelor of Arts Degree with an Honours in English in the spring of 2024, and joined the MA in English program the following fall. After completing her honours thesis, Chatterjee wanted to continue her work looking into morality and science fiction and her views towards AI and its rapid developments that seem like a threat to human survival for many. Aditri is supervised by Dr. Marie Loughlin with committee members Dr. Jon Vickery, Dr. Bryce Traister and Dr. Margaret Reeves.

We asked Aditri to discuss her experience at UBC Okanagan both as an undergraduate and as a master’s student.

Tell us about your time here at UBC Okanagan.

Pursuing a Bachelor of Arts degree in English literature, complete with an Honours distinction, my love for stories has transcended from mere fiction to communities at large. From exploring the origins of English in my Old English classes to learning about various literary periods and genres – all here at UBC itself – has already put me on a rewarding road to earning another UBC degree.

Working as a Graduate Teaching Assistant (GTA) has been very rewarding in the first year of my Master’s degree. As a Hobbit fan from a young age and now getting to experience it in a classroom context as a GTA with Dr. Marie Loughlin, I learnt firsthand the demands of a teaching role and how exciting it can be to discuss cool stuff in an academic manner. As a GTA for Dr. Jon Vickery and explore dystopian literature, which ties in close to my thesis. Apart from talking about cool stuff again – like The Matrix and Terminator – I also had the opportunity to take a lecture on ‘robots and AI’, a topic that was not only significant to the course but also one that directly links to my MA thesis. This experience allowed me to greatly realise my thesis’ significance to the general public and rediscover the joy of literature.

As a UBCO student, the motto ‘tuum est’ is an integral part of my education and I hope to uphold that for the rest of my graduate education as well.

Tell us about your thesis.

My English Honours thesis explored Star Wars’ dealings with the Grey Jedi, Force-users who walk between the Light and Dark sides of the Force. At the time, I was thinking about the ways in which the Grey Jedi as a character type represented a figure of the outsider, a figure that disrupts the conservative. Their challenge to a misplaced philosophy about balance with a narrative invested in the Manichaean concept of good vs. evil made me question the perfunctory heroic narratives that are governed by this binary, particularly in societal dogmas, politics, traditional education, communities, and gender norms.

My Master’s thesis focuses on American science fiction author Isaac Asimov’s ‘Robot Novels,’ examining how Asimov deals with sentience and consciousness in Artificial Intelligence (humanoid robots) that allows his robots to develop volition, judgment, and empathy. Since the four ‘Robot Novels’ (The Caves of Steel, The Naked Sun, The Robots of Dawn, and Robots and Empire) are interconnected through the robot R. Daneel Olivaw, I will focus on the character development of this particular robot, examining how this development informs the current discourse on AI sentience. Ultimately, the significance of this study lies in addressing the current fear and anxiety around the rapidly developing world of AI. By not deferring to the clichéd robot-apocalypse narrative that pertained both in the 1950s and 1960s and dominates much discussion of AI in today’s world, Asimov’s alternate perspectives on robots provide a less polarised way of harnessing technology to help humanity and can assist us in moving towards a future that caters not just to humans but to every being on this planet, organic or otherwise.

You recently published an article in The Republic. Tell us about this publication and what your article is about.

My publication in The Republic started as an assignment for UBCO professor Dr. Sakiru Adebayo’s class, Black Intellectual Traditions. On his initiative and encouragement, I submitted a book review, titled Black Scholarship in Africanfuturism, to The Republic, hoping it would get published and three months later, it is out in the world for everyone to read.

My article is a book review of Nnedi Okorafor’s novel Death of the Author, a novel that crosses genres—metafiction, literary fiction and science fiction (africanfuturism) all wrapped up in one piece of work. It is about a disabled Nigerian-American woman named Zelu who makes a breakthrough in her writing career, through her novel Rusted Robots, while dealing with several problems in her life that do not make her stardom easy to live up to. The novel is significant in imparting agency to its Black readers who want to explore africanfuturism, redefining Black scholarship through science fiction and proving that scientific development does not exclusively lie outside literature or within Western countries. It attempts at resolving the issues between science and race by incorporating the past (colonialism, slavery, migration) as well as the future (technology, post-racism, post-humanism). To that end, Okorafor’s inspirational form is not limited to Black people and its diaspora. I myself am inspired by her works in imagining a science future for my own home country via Indofuturism or indianfuturism, another one of my research interests from a list that seems never ending.