Art Apart installation shot

What: Art Apart
Who: Cool Arts
When: November 13 to 26, 2020; 9 a.m. to 4 p.m. Monday to Friday
Where: FINA Gallery, CCS Building, UBC’s Okanagan Campus, Kelowna

Although many of us have had to be separated during this time — which had been especially hard on those of us with disabilities and health issues — we’ve still managed to come together to make art as a community!

Art Apart Virtual Tour

This exhibition is organized by Cool Arts Society and supported by the Faculty of Creative and Critical Studies and the UBCO Partnership Recognition Grant.

Note: Visitors to the gallery must follow social distancing measures which include a maximum of 6 people in the gallery at one time. Please follow the signage and instructions when entering the CCS building.

Emily Murphy working in the AMP Lab at UBC Okanagan.

Study in the sciences, humanities or performance each has their own way of knowing and seeing. If you take those different ways of looking at things and put them together; you can create outcomes that are more than just the sum of its parts, you see both angles and something new at the same time.

Emily Murphy, an assistant professor in the Faculty of Creative and Critical studies is being supported by Canada Foundation for Innovation (CFI) to create the The ReMedia Infrastructure for Research and Creation is led by Dr. Emily Murphy. In this physical space, Murphy will continue her research that marries the study of cultural history and embodied methods in media. Murphy is interested in research that looks at cultural history through more than just stable media like text. She engages with ways that people have used their bodies in cultural production. Projects in ReMedia study comics, literature, performance, social media platforms, memes, and modernist robots.

“With this funding, I will be working to create a physical space that marries the study of cultural history and embodied methods in media,” she explains.

CFI gives infrastructure funding to create research centres and labs on campus, which can include renovating or building space, the purchase of equipment and software as well as operational funds to get spaces up and running.

Murphy is interested in research that looks at cultural history through more than just stable media like text. She engages with ways that people have used their bodies in cultural production. In studying the history of a dance form, for instance, she works to reproduce the choreography and reconstruct the shape.

“I am engaging with those historical records using more than just my eyes and brain. I am using my body as well.”

The The ReMedia Infrastructure for Research and Creation is housed in the Innovation Annex (IA1) at UBC Okanagan, in a dedicated research space.

“Being able to put together a successful CFI grant depends on the support of lots of different units at the university. Both exciting and a humbling vote of confidence, especially as these infrastructure grants are relatively rare in the humanities.”

Funding will be used to renovate the spaces to be used for the (Re)Media Lab, and purchase software and hardware to be used by Dr. Murphy and her collaborators on a number of projects. Some of the hardware includes micro controllers (small computers) and censors for creating wearables and embodied interfaces.

This infrastructure will allow Dr. Murphy to develop projects and win research grants, which in turn will allow her to support graduate researchers at UBCO.

Find out more about Emily Murphy and her research.

You can find out more about the projects that were supported by CFI at UBC, across both campuses.

The Social Sciences and Humanities Research Council recently announced the recipients for the SSHRC Doctoral Fellowship in early November. We are proud to share that two of our doctoral students have received the SSHRC Doctoral Fellowships, which provides financial support for high-calibre students engaged in doctoral programs in the social sciences and humanities.

These prestigious awards support students through their Doctoral degrees allowing them to focus on their studies and research, explains Dr. Greg Garrard, Associate Dean of Research and Graduate Studies in FCCS.

“Congratulations to this year’s doctoral SSHRC awardees! Toby Lawrence’s research in the field of art curation and Indigenous engagement speaks to the importance of the fine arts in reconciliation, and Melissa Hart’s exploration of eco-narrative recognizes the vital role of storytelling in sustainability initiatives. We wish them the best of luck with their projects.” Says Garrard.

Below are the recipients from the IGS program in FCCS with a summary of their research.

Melissa Hart is a doctoral student in Digital Arts and Humanities in the second year of her program. Hart’s creative research explores art as eco-activism through meta-narrative. Her current research interests lie in creative eco-narrative, digital painting, regenerative-culture, and in-situ, practice-based methodology. She received a Social Sciences and Humanities Research Council Canada (SSHRC) Doctoral Fellowship Award, 2020-2024; a University of British Columbia Special Graduate Student Award, 2019; and a Province of British Columbia for the British Columbia Graduate Scholarship (BCGS), 2019.

The title of her research proposal is Judas-Kiss—Betrayal of our Primordial Comrade in the Rarest Rainforest on Earth: wolves and humans in British Columbia’s Southern Interior Rainforest, and she is co-supervised by Michael V. Smith & Dr. Bryce Traister.

Here is a summary of Melissa’s research proposal: Creative-research, in the digital humanities, in the form of eco-criticism, is a new and vital area of study. Building on my Master of Arts research, which examined the evolution of story through social media, and also my experience as a published novelist, and award-winning blogger, I will create a digitally illustrated novella as an agent for social change. Specifically, I look at the processes involved in a hybrid research that combines onsite auto-ethnography and experiential learning, with digital documentary tools. I examine how digital technology tools aid in the creation of art as an embodiment of forest life, and also, the ways in which digital tools act as a conduit—in the form of digital art—to reconnect humanity with nature. Through engaging in creative writing and digital art practice in an effort to bring about change, I give voice to the silenced in British Columbia’s Interior Temperate Rainforest.

Toby Katrine Lawrence is a doctoral student in the IGS individualized program, having reached candidacy in July 2019. She is currently conducting field and archival research that will focus on a selection of case studies and their active renegotiation of access, economic, gender, and racial inequality through their relationships to labour, land, and community. The title of her research proposal is Models of Reimagined Curatorial Practice: Land, Labour, and Community, and she is co-supervised by Ashok Mathur (OCADU) and Tania Willard (UBCO).

Toby is a settler-Canadian curator, writer, and researcher living and working between Snuneymuwx, Lekwungen, and W̱SÁNEĆ territories. Her work centres a collaborative and relational approach, and is focused on anti-racist, decolonial, and intersectional feminist methodologies.

Here is a summary of Toby’s research proposal: My doctoral study examines models of curatorial practice that depart from traditional western art gallery and museum frameworks. Centring the social responsibilities of curation, my research asks: How are curators reimagining their praxes? How are curators intentionally caring for their practices to better care for those invited to contribute and for those who constitute their communities? How do these strategies replace, intervene in, or work in conversation with settler-colonial models to establish accessible, ethical, equitable, and anti-racist spaces of art? Within colonial nations such as Canada, how are exhibitions and organizations acknowledging their position with reference to the land on which they are presented or operate? What are the frameworks for organizing found inside and outside of the arts, not limited to collaboration, community organization, hospitality, and relationality, that offer strategies addressing culturally nuanced expectations within the curatorial? Using intersectional feminist and decolonial methodologies, this research demonstrates the significance of these models in challenging access, racial, gender, and economic inequalities in the arts and analyses the labour involved and the relevance and impact in relation to location and community.

Marianne Legault is an Associate Professor in the Department of Languages and World Literatures, specializing in 17th and 18th century French literature and cultural history. Her research areas include women’s literary production in seventeenth and eighteenth century France, as well as novels, fairy tales, and drama. She has been teaching at UBC Okanagan since 2004.

Marianne shared some insights on her teaching and research practices here at UBC Okanagan.

Tell us about your research interests.

I have written a lot about same-sex love in Early Modern literature, in both French and English.  That was my first goal as an immerging scholar: I wanted to get the old skeletons out the French academic closets, the ones no one really wanted to talk about.  It was difficult to be sure.  The conservative scholars were not ready for a different reading of their beloved and often canonical texts.   That’s when you know you’re on the right track.  When you ruffle things up.   But it was vital to me.  To show that women had loved each other even back then, and how that love had remained silent for so long, overshadowed by the assumption of heterosexual narratives.  Recently, I have (re)turned my attention to fairies, the magical kind.  I am loving going back to French classical fairy tales and examining the relationship between fairies, women, confinement and marriage.  That’s my current shtick.   That’s what my latest publications are focusing on.  I see a book coming next.

How did you know you wanted to be a professor?

I always knew I wanted to teach.  I must be a bit of a frustrated actor because I feel most myself in the classroom, pacing back and forth and engaging students.  In truth, I began my university degree thinking I’d become a high school history and physical education teacher.   I actually didn’t think I would do a PhD or any of that “serious” stuff.  But then, in year two of my studies, I took a 17^th century French tragedy class as an elective with the most amazing woman and it changed the course of my life.  After that, I began to think “that’s going to be me.  Making students passionate about something they never thought they would even like.”  We’re still in contact she and I.  I’m so thankful for her inspiration and her mentorship.   I feel incredibly fortunate to be able to do what I do and share my research with students.

What most excites you and challenges you about your field?

Whenever people ask me what I do for a living and I answer, most often than not it’s the end of that conversation topic.  You see, people’s faces tend to go blank at that very moment… How can they relate to someone researching and teaching Early Modern stuff?  That’s the biggest and also the most rewarding challenge in my line of work: making students relate to what they’re reading in my classes.  Watching them come to understand that despite the centuries between then and now, between old manuscripts and swiping left, things haven’t changed that much.  Love is love, social, gender and racial inequalities still exist, and wars and other societal forms of violence continue to be on display.  Once students see that, my job is half done.  All that remains is to get them to feel some of the excitement I feel when reading these texts.  In a world where everything is available on-line, our approach to literature has to be different.  My purpose and passion are to make it relevant.

Why did you choose to come to UBC Okanagan?

I know people always refer to our “intimate campus community” as the unique aspect of our campus.   But it really is something.  I’ve taught at other top research universities (the University of Melbourne, the University of Victoria, and the Vancouver campus of UBC), and in my view students navigate those big campuses like they do a big city: fairly anonymously.  What’s really amazing about our campus is that we get to have the best of both worlds: the prestige of the UBC name (with its world-class researchers and instructors), and the small campus family-like feeling.  In fact, whether you’re a staff member, a student or a faculty member, it’s difficult to get from one building to the next without running into someone you know and with whom you want to chat!  It’s that very close-knit community that makes it a wonderful and unique place.

Interested in the arts, visual arts or digital media? Join us for virtual info sessions to learn more about our Bachelor of Fine Arts and Bachelor of Media Studies  and the programs we offer in the Bachelor of Arts undergraduate degrees.

Our program coordinators will share information about the portfolio requirements for the application for the BFA and BMS, course options and pathways throughout the degree and give examples of student work to give a better idea what happens in the programs. One of our Student Advisors will also be on hand to answer any questions about degree requirements and program progression.

Prospective students, parents and teachers are invited to attend one or all of the sessions below and will have a chance to ask questions about the programs and the application process.

Bachelor of Fine Arts Info Session

Date: Tuesday, Nov. 17
Time: 10:00 to 11:00 a.m.
Location: Zoom.

REGISTER NOW 

The BFA is a four-year direct entry program that combines a strong practice-based studio approach with critical reflection for a fully rounded educational experience. Art history courses, visiting artists’ presentations, and participation in art exhibitions locally, nationally and internationally, as well as in the department-run FINA Gallery, also form integral parts of the curriculum.

The Visual Arts  program provides students the opportunity to study in a variety of traditional media (painting, drawing, sculpture, analogue photography, and printmaking) and digital media production courses (video, digital photography, sound art, visual communication, 2D animation, and virtual worlds). Students are encouraged to work in media that best suits their artistic practice after building a solid foundation in studio practice.

Bachelor of Media Studies Info Session

Date: Tuesday, Nov. 17
Time: 11:00 a.m. to 12:00 p.m.
Location: Zoom.

REGISTER NOW 

The BMS is a four-year, direct-entry program that prepares students for careers in digital media creation. It is a computational arts program that combines digital arts, visual arts, media studies, social science and humanities. The program begins with designated “core” courses that provide a strong foundation in Creative Writing, Cultural Studies, Digital Humanities, Media Studies, and Visual Arts.

The foundation of the program is the opportunity for students to experiment with ideas and the newest technologies in a team-based environment, with a focus on innovation in digital-media design. The program is designed for students looking towards a future in creative and cultural industries, and to continue their education in design, art, and academics as postgraduates.

Bachelor of Arts Info Session – FCCS programs

Date: Wednesday, Nov. 18
Time: 10:30 to 11:30 a.m.
Location: Zoom.

REGISTER NOW 

UBC Okanagan’s liberal arts degree prepares students for global citizenship by integrating foundational knowledge with interdisciplinary opportunities in social justice, sustainability and Indigenous content. Students who earn a BA degree graduate with a broad range of knowledge and the ability to think critically, be creative, problem solve and communicate effectively.

The Faculty of Creative and Critical studies offers the following programs within the BA: Arts History & Visual Culture, Creative Writing, Cultural Studies, English, French, French & Spanish.

We also offer more study options in which students can take courses in any of these areas as electives to complement their degree, and in some cases add a minor to the degree they are pursuing: Chinese, Communications & Rhetoric, Digital Humanities, Film, German, Japanese, Korean, Spanish, Theatre, and World Literatures.

Lindsay Diehl completed her doctoral degree in the summer of 2018, and until this fall, she was teaching first year English in the Department of English and Cultural studies. She was recently awarded the W.P. Bell Postdoctoral Fellowship at Mount Allison University, and has moved across the country to continue her academic career.

As the WP Bell Postdoctoral Fellow, she will teach in Mount Allison’s academic program in Canadian Studies. She will also be involved in the Centre for Canadian Studies, planning special guest speakers and events that contribute to the Centre’s outreach, scholarship, and co-curricular efforts.

Her research continues to look at topics in Asian Canadian Studies. She is working on an introductory volume on Asian Canadian Literature for a Routledge series on Canadian Studies, which is edited by Lorraine York and Robert Lecker. Additionally, she is planning a second creative-critical project, entitled Reading Outside of the Frame: Commemorative Projects on Early Chinese Canadian Women, which examines commemorative and familial accounts of early Chinese Canadian female experience.

Lindsay Diehl working with students

We talked to Lindsay to find out a bit more about her research and the road to earning her degree.

Tell us about the road to earning your UBC degree.

The interdisciplinary nature of UBC-O’s PhD is unique, and it allowed me the creativity and freedom to explore ways of productively merging my interests in creative writing and critical scholarship.

I would particularly like to thank my supervisor, Dan Keyes, for always believing in my imagining of a creative-critical project. He was constantly available to provide feedback, guidance, and encouragement; since the completion of my PhD, he has also written several letters to support my various applications, and he unswervingly emphasizes the innovation and value of my creative-critical approach to research.

Are there any professors that stand out as having made a difference to you and helped you along the way?

Dr. George Grinnell has been a generous and supportive mentor. For most of my PhD, he was my GTA supervisor when I was working in the English department. Through his engaging lectures and understanding demeanor, he provided me with a valuable role model. Indeed, from him, I learned productive ways of planning a course, running a classroom, encouraging participation, and communicating with students. Beyond his role as my GTA supervisor, George has always offered me invaluable research/writing/professional guidance, helping me to navigate not only the completion of my PhD, but also, more recently, the submission of my book proposals and postdoctoral applications. Whenever I write George with questions about how to advance my academic career, he consistently responds with detailed and useful tips; he has been a reliable and trusted mentor, helping me to plan my future and understand the next steps.

Were there any campus resources that contributed to your experience?

The Centre for Scholarly Communication (CSC) is an amazing resource, which all graduate students should take advantage of. The CSC runs several graduate workshops on how to write SSHRC applications, prepare CVs, get published, come up with a writing schedule, etc. In addition to these workshops, it also allows graduate students to meet with CSC advisors in weekly one-on-one sessions.

My meetings with Amanda Brobbel, the CSC coordinator, were crucial to my success as a PhD student. She helped me to edit articles for their submission to peer-review journals, as well as devise workable schedules to keep my dissertation-writing on track. Indeed, she kept me “progressing” on my dissertation chapters, instead of “obsessing” over each line and paragraph. My meetings with Amanda kept me accountable (i.e. I would set goals with her, and by the next meeting I wanted to show her that I had met those goals), and ultimately she helped me to stay motivated throughout the long, grueling process of writing a dissertation.

How did your UBC experience prepare you for the fellowship?

During my PhD, I received the Doctoral Teaching Scholarship, which served to develop my instructional expertise. This scholarship allowed me to participate in IGS 630: Teaching in Higher Learning, taught by Dr. Peter Arthur. This course provided me with leading-edge practices in strategic course design and evidence-based teaching/learning activities.

After completing my PhD, I was able to work as a sessional in the English program, and this experience further helped me to develop my teaching philosophy and confidence/experience in the classroom.

About Lindsay’s Research

Dissertation title: When the Past Becomes Present: Storytelling, Postcolonial Autoethnography, and Asian Canadian Studies

My creative-critical dissertation creates a dialogue between my grandmother’s stories and a canon of Chinese Canadian narratives. Whereas the family stories help me to explore a matrilineal history that begins with immigration from China to Canada in 1874, the analysis of Chinese Canadian narratives allows me to investigate how this canon has been imagined and produced. In bringing together these creative and critical interests, my dissertation highlights the importance of sharing the stories of previous generations, while also uncovering some of the potential problems of such an endeavour. It examines the intersecting topics of nationalism, settler-colonialism, race, gender, and identity, in order to intervene in key debates in Canadian Studies around the “coming to voice” of a historically silenced and racialized group.

Hussein Keshani, Associate Professor of Art History and Visual Culture, is chairing the session darc Experiments in Digital Islamic Art Histories, at the upcoming 2020 Conference of the Universities Art Association of Canada, on Oct. 16, 2020. In addition to Dr. Keshani, three IGS students in the Digital Arts & Humanities (DAHU) theme will be delivering conference papers on their research.

“This is an exciting opportunity for our DAHU students to share their work on a national stage and help transform the discipline of art history, while enriching the field of Islamic Art History” notes Dr. Keshani.

“It’s a testament to the ingenuity and innovation of our students that they’ve been selected to present their research at the 2020 UAAC conference, which is the biggest such international gathering in Canada.”

Dr. Keshani will discuss how the digital turn in the Humanities and Art History runs the risk of accentuating the already marginal position of Islamic art history in the academy, particularly in Canada and present an overview of the work of the digital art history research collective (darc) at UBCO.

3D modelling image

Presenters will discuss scholarly remediations of South Asian miniature paintings using 3D printing, how digital media can be used to critically narrate and interrogate UNESCO’s construction of Iranian architectural heritage and how data visualizations can be used to provide alternative perspectives on artistic collaboration and choices in Persian art. Together these experiments explore what Digital Art History can be, while illuminating what Digital Islamic Art History cannot be due to entrenched inequities.

Tactile Diagram Cuboid

Doctoral student, Ahlam Bavi will present her project, “Remediating Islamicate Art using 3D Printing for Low-vision Audiences”, a pilot project to explore how Islamicate Art collections can be made more accessible to low-vision visitors. This study aims to develop solutions for low-vision visitors by designing a 3D Toolkit to be used by galleries and museums.

Aga Khan Garden web-app

Sepideh Saffari, a second year doctoral student will present her paper, “Using Digital Media to Interrogate UNESCO’s Approach to Iranian Architectural Heritage.” This paper discusses the initial stages of her visual-centric study of UNESCO’s role in the construction of Iranian national identity through the representation of architectural heritage. While UNESCO believes that peace is based on dialogue and mutual understanding among nations, it does not sufficiently promote the cross-cultural influences nations have on each other, particularly in its representations of visual culture.

Data Visualization

Masters student, Yasaman Lotfizadeh will present her study, “Shifting Perspectives on Safavid Artistic Collaboration and Choices Using Data Visualizations,” which investigates the extent of artistic collaboration in one deluxe Persian illustrated manuscript, the Shah Tahmasp Shahnameh (also Shahnama) paintings. The study outlines a Social Network Analysis and the use of Digital Humanities tools and methods to analyze the patterns of artistic collaboration among the various artists who worked on this manuscript under Shah Tahmasp’s patronage.

Digital Arts & Humanities theme cohort, 2020 (this photo was taken prior to COVID-19 physical distancing requirements.)

About Hussein Keshani

Hussein Keshani is Associate Professor and Program Coordinator in Art History and Visual Culture in the Faculty of Creative and Critical Studies at The University of British Columbia Okanagan campus. He leads darc (digital art history collective), which operates out of the Canada Foundation for Innovation funded AMP (Audio, Media, Poetry) lab. He is also the Coordinator of the Digital Arts and Humanities interdisciplinary graduate theme and has formerly served as the interim head of the Centre for Culture and Technology. He is a specialist in Delhi Sultanates, Mughal and late-Mughal visual cultures as well as digital art history, teaches courses in art history, world literatures and digital humanities and is the recipient of multiple Social Sciences and Humanities Research Council for Canada grants.

About Ahlam Bavi

Ahlam Bavi is a conceptual artist, industrial designer, and digital humanist. She has studied and researched at the University of Tehran, the University of Lucerne, Switzerland and the University of Calgary, where her digital sculpture work was recognized by an award. She is trained in the Reggio Emilia Educational approach, as well as in VR and AR and digital technologies. Ahlam’s visual artworks consist of conceptual sonic sculptures, digital remediated artworks, 3D calligraphy, and algorithmic 3D printed sculptures. She also researches how museums can improve the experience of low vision visitors by re-imagining artworks through digital technology. Currently, she is a PhD candidate in the interdisciplinary Digital Arts & Humanities program.

About Sepideh Saffari

Sepideh Saffari is an award-winning artist and architect currently pursuing her interdisciplinary Ph.D. in Digital Arts & Humanities at The University of British Columbia. She is also a graduate research associate of the AMP Lab and a member of the Centre for Culture and Technology. In these affiliated research centres, she has been collaborating on projects such as Aga Khan Garden web app and Water Ways. In 2006, she started her academic education in Architectural Engineering in which she ranked third and first among students in her BA and MA programs respectively. Since then she has held artistic and architectural positions, namely teaching at universities, designing constructed buildings, and working at game and animation companies.

About  Yasaman Lotfizadeh

Yasaman Lotfizadeh holds a Master of Arts in Graphic Design from Semnan University and is currently a Master of Digital Arts and Humanities candidate at UBC. She is a professional Graphic Designer and Art History enthusiast with experience as a university lecturer. She has received the Graduate Dean’s Entrance Scholarship as well as a Faculty fellowship from UBC. She has worked as Research Assistant and Graduate Academic Assistant, affiliated with the AMP Lab and is currently the Lead Graphic designer of three UBCO SSHRC funded projects. Her research focuses on applying Digital Humanities theories and tools such as Social Network Analysis and Data Visualization in connection with the sixteenth-century Persian illustrated manuscripts. She is looking at two sixteenth-century Khamseh of Nizami illustrated manuscripts to examine how artists portrayed nature through a comparison between their visual choices and the verbal imagery in the texts they illustrated.

World Literatures (WRLD) is a new program area offered in the Faculty of Creative and Critical Studies (FCCS) at UBC Okanagan. The courses offered in this area are designed to enable students in all programs to explore how politics and ideology shape and define literatures across geographical, cultural and ethnic boundaries.

With assistance from the Aspire Learning Transformations Fund, an advisory team of five faculty members lead by Alwyn Spies and including Francisco Peña, Anderson Araujo, Francis Langevin, and Sarah Brears, is developing a major and minor in World Literature and Intercultural Communication. The proposed major and minor programs will centre around questions as to how cultural, linguistic, social and historical circumstances shape the production and dissemination of literary and artistic works in a global context.

World Literatures courses have been offered at UBC Okanagan for the last few years, allowing Bachelor of Arts students to take these courses as electives or to expand the scope of their major. Now with the expansion of these offerings, students will be able to complete a major or a minor and work to improve their knowledge of the world’s diverse literary traditions as an important medium for intercultural dialogue.

World Literatures creatively takes advantage of FCCS faculty’s range of expertise and proposes to open a dialogue between worldviews through the study of literatures from a range of cultures and historical periods, explains World Literatures professor, Francisco Peña.

“The international awareness fostered by the study of literature in global perspectives helps to prepare students to flourish academically and professionally in an increasingly interconnected world,” he says.

Combining language and global literatures in a dynamic and research-enriched learning environment will foster students who will be ideally equipped to communicate and thrive in a fast-changing global economy.

“One of our main goals is to enable students to overcome fear and judgement of otherness and to become aware of how their own socio-cultural and linguistic backgrounds shape how they see, interpret, and create,” notes Alwyn Spies, professor of World Literatures.

The program, which will be housed in the Department of Languages and World literatures, will be distinctive in its fully integrated combination of literatures, languages and intercultural communication via a core focus on re-thinking difference. The courses in this area work to bridge language and literature with distinct but complementary learning outcomes.

The anticipated launch for the major and minor options is fall 2021.

Aiden working in her studio on campus during her BFA

Aiden Kirkegaard (previously de Vin) is a painter that looks at the way memories are connected to domestic spaces. Aiden graduated at the top pf her class, receiving the Medal in Fine Arts in the spring of 2020, with a major in Visual Arts and a minor in Art History and Visual Culture.

When she started in first year, she notes that she had no idea what kind of work she wanted to create. She took a variety of classes and tried to be experimental, which helped her become more focused as the years went on and she learned what was working for her and what her interest were.

“I love learning what is behind work, what philosophies the artist was exploring.” She says.

In her second year, she took her first painting course with visual arts instructor Katherine Pickering, “I fell in love with colour and abstraction!” she says with excitement.

“Aiden really seemed to find a sense of confidence in her painting practice this year and from my perspective, she’s going out into the post degree world with a real sense of confidence in her artistic voice.” says Pickering.

Living in Vernon, she was keen to stay in the area to be close to home while completing her fine arts degree. She was also excited about the community aspect of being a part of a smaller faculty and the connections that could be made with classmates and clubs on campus.

Some of the highlights from her experience at UBCO are mostly around being involved in different events. She was a part of many different clubs on campus and volunteered at art related events such as Art on the Line and the BFA grad shows to connect with other students and gain some art related experience.

Since UBCO is a smaller campus Aiden says that she felt like she was able to connect with students from different years in the program. Being part of a club called “UCM” or “University Christian Ministries”, gave her the opportunity to make friends and connect with other students outside of her program.

“I’ve made some lifelong friends through the different circles I was connected to. I also loved the open studio times when I would be painting in the studio with people from different years and we could connect about all the different things we were creating.” She adds.

In her 4th year, Aiden took a practicum course where she co-coordinated Art on the Line, an annual art auction that takes place in campus to raise finances for the Visual Arts Course Union. This event taught her so much about event planning and working with the art community of Kelowna. Along with co-organizer Sara Spencer, they learned a lot about working with catering, organizing events at the university, and promoting art related events.

“Although it was a ton of work, I enjoyed getting to work with Sara on this event. I learned so many valuable skills moving forward and into the work place for fundraising and event coordinating” she says.

In the final year of her BFA degree, she created a body of work looked at childhood memories she had growing up and how those memories could be translated through paint. Moving forward, she plans to keep painting doing work that explores more domestic spaces not tied to childhood.

Now that Aiden has competed her degree, she has started work with a Christian Non-Profit organization and will continue to work on her studio art practice.

“I have a studio set up in my apartment and so I plan to keep making work and have already been doing a few commissions since graduation.”

Aiden is planning on working towards her Masters of Fine Arts and has plans to apply for some exhibitions in artist run centres across Canada, and to do some research about artists residencies that she may want to apply to.

Katherine Pickering says that she is going to miss having Aiden in the program.

She adds: “She’s one of those students who has an extremely positive effect on her classmates because of her work ethic, and also because of her sense of community and compassion for those around her.”

Aiden’s studio showing her paintings

Aiden’s home studio

Associate Professor Kyong Yoon is one of the recent recipients awarded funding through the SSHRC 2020-2021 Partnership Engage Grants COVID-19 Special Initiative.

Dr. Yoon has partnered with the Okanagan Korean Culture and Knowledge Society (OKCK), for this project which examines Korean Canadians’ collective responses to socio-cultural challenges caused by the pandemic. The project is titled, Developing Korean Canadians’ Civic Engagement Strategies in the COVID-19 Era.

Socio-cultural challenges that racialized people are facing in the COVID-19 era call for collaborative projects between academics and community organizations. Considering the urgent need to support and empower racialized people during the pandemic crisis, this partnership project explores how a Korean Canadian community organization copes with socio-cultural challenges during the pandemic and how the organization can facilitate and support racialized people’s civic engagement beyond ethnic attachments.

Drawing on community-engaged research methods, this 12-month project will examine how the OKCK copes with the pandemic crisis and develops strategies for Korean Canadians in the Okanagan to connect with other community organizations and residents beyond their ethnic bubble in the post-pandemic world.

The project serves to facilitate racialized people’s inclusion in the process of the post-pandemic transformation of their local community, while also addressing a larger question of how the COVID-19 pandemic affects social integration, inclusion, diversity, and equity.

Find out more about the SSHRC funded projects at UBC.

Dr. Kyong Yoon

About Kyong Yoon

Kyong Yoon is a Seoul-born media researcher. Dr. Yoon’s research focuses on digital media, migration, and youth culture. He has published nearly 50 peer-reviewed articles and chapters. His publications also include two research monographs on transnational Korean media– Digital Mediascapes of Transnational Korean Youth Culture (2020) and Transnational Hallyu: The Globalization of Korean Digital and Popular Culture (forthcoming in 2021). His has recently been working on a new book project titled The Korean Wave in Korean-Canadian Youth Culture. Dr. Yoon teaches in the Cultural Studies program in the Faculty of Creative and Critical Studies at UBC Okanagan.

About the Okanagan Korean Culture and Knowledge Society (OKCK)

OKCK is a non-profit, grassroots community organization, which was incorporated by six Korean Canadians in Kelowna in 2012. It is the first and only Korean community organization in the Okanagan region.