Exhibitions

Joshua Jensen-Nagle | Echoes of Light: Collected Works
April 9 - 27, 2026
Bau-Xi Gallery | Dufferin
1384 Dufferin Street, Toronto
Guided Tour & Closing Reception: Saturday, April 25th from 10:45 AM- 12:45 PM | Artist in Attendance

This April, Bau-Xi Gallery | Dufferin presents Echoes of Light: Collected Works. Spanning a decade of Joshua Jensen-Nagle’s extensive practice, this rich collection is unified by a focus on emotional resonance and capturing moments that feel both real and imagined. Jensen-Nagle’s photography blends constructed and natural light to evoke feelings, inviting viewers to question and interpret what they are experiencing. By shaping emotion and creating atmosphere, Jensen-Nagle endeavors to leave a lasting impression rather than recording a specific time or place.

Artist Statement:

Photography, at its most fundamental, is the act of capturing light. What continues to fascinate me is not just the act itself, but the countless ways in which that light can be shaped, constructed, or discovered. Some artists build it entirely within a studio, while others chase it in the natural world. My practice exists somewhere in between, using photography not simply to document, but as a means to create and capture feeling.

I have always been drawn to a poetic sensibility in my work. At times it is dramatic, at others more subdued, and often it invites a quiet questioning of how the image came to feel the way it does. I am less interested in a single truth than in the emotional resonance an image can hold, and how light, place, and atmosphere can suggest something beyond what is seen.

This collection brings together works created over a decade, spanning multiple series and approaches. While the methods may shift, a consistent thread runs throughout, a sense of nostalgia and romanticism. The images reflect a longing for moments that feel both immediate and distant: places experienced, remembered, or perhaps imagined.

In the end, these works are less about documenting a specific location or time, and more about capturing an echo of light that lingers with the viewer. - Joshua Jensen-Nagle

__________

Joshua Jensen-Nagle is a one of Canada's best photographers, celebrated for his evocative beach photography and photos of nostalgic European landmarks. Jensen-Nagle's romantic, dreamlike photographs impart nostalgia and purity often through a faraway or overhead view of his subject. His frequent travels abroad inspire many of his photographic series.  His inventive, unusual use of analog techniques contribute to the unique images he creates.

Jensen-Nagle bases his full-time art practice in Toronto. Having mounted over fifty exhibitions over two decades, he is widely recognized for his practice and has been collected throughout North America and the world.

Watch Video: Joshua Jensen-Nagle Artist Profile

VIEW THE FULL COLLECTION

Kyle Scheurmann | We Could Have Been a Mountain
Solo Exhibition
April 11-28, 2026
3045 Granville Street, Vancouver
Opening reception: Saturday April 11th, 2-4 pm
Artist In Attendance | Artist Talk & Tour 2:15pm

Watch Kyle Scheurmann's artist talk for We Could Have Been a Mountain

Bau-Xi Vancouver proudly presents We Could Have Been a Mountain, the new solo exhibition by Canadian artist and activist Kyle Scheurmann.

Based on frontline action, three months of field research in British Columbia assisted by conservationists from the Nature-Based Solutions Foundation (NBSF) and an artist's residency at Island Mountain Arts (IMA) in Wells BC, this new series centers on wildfire, industrial resource extraction, and anthropogenic climate change as its core imagery. Visceral organic additions carefully blended into the artist's oil paints further augment the weight and urgency of the works and the artist's call to awareness.

Kyle Scheurmann will be in attendance at the opening reception of We Could Have Been a Mountain at Bau-Xi Vancouver on Saturday, April 11 from 2-4pm. An artist-led talk & tour will begin at 2:15pm with an introduction by Emilie Carrière of Nature Based Solutions Foundation. 

Kyle Scheurmann gratefully acknowledges the support of the Canada Council for the Arts and the Ontario Arts Council.




Artist statement:

This exhibition comes at the most crucial time for our environment and my practice in face of the climate crisis. I see my responsibility as an artist, environmentalist, and cultural practitioner as being an accurate and empathetic translator of the realities on the ground in the places most acutely affected by climate change. My practice champions the protection of endangered ecosystems primarily by supporting indigenous-led conservation plans.

Materially, I have collected samples of distressed landscapes to use as painting mediums, such as charred tree and animal remains from wildfires, dried fireweed, sand and crushed stone pigments. Learning to employ diverse organic material into my paint yielded new ways of making lustre, texture and opacity while creating a physical link between the painting on the wall and the lived experience of the land.

-Kyle Scheurmann, 2026


Further insight into Kyle Scheurmann's new work and practice, as observed by art critic, author and activist against systemic violence, Karen Moe:  

The paintings of Kyle Scheurmann’s latest collection, We Could Have Been a Mountain, could have been just beautiful. They could have been landscape paintings celebrating the spirit of the Canadian wilderness in the tradition of the Group of Seven or the West Coast glory a-swirl in the old growth epics of Emily Carr. We Could Have Been a Mountain could have been aesthetic articulations of a love-affair with the land, alive with the natural environment that is distinctively Canadian. And they are. However, unlike Emily Carr and the Group of Seven, these paintings are of a far different time. This is a love affair conflated with a broken heart, painted articulations of what could have been before greed has almost finished its job. Scheurmann paints ecological trauma; however, even as the natural world is obliterated around us, his love and connection to the land is what animates these exquisite reportages of the stories told by the scourge of capital—and the beauty and resistance that persists. 

As an activist, journalist, conservationist and artist who has been a forest defender in old growth forest logging blockades like the Fairy Creek Blockades in 2020-2021, and now, with this new work, investigated sites of the endemic forest fires that have accelerated in his home province of BC and across Canada, Scheurmann’s artwork is passion and subjectivity built upon the bedrock of the painstakingly objective. He analyzes and monitors clearcuts, forest fire burns and the threatened patches of what still stands with the precision of a scientist, photographing, recording GPS coordinates and taking physical samples to his studio as a biologist takes specimens back to their lab. The artist’s site-specific sketches are as subjective samplings and, perhaps most importantly, Scheurmann immerses himself physically and emotively into his subject matter and, as witness and as living creature, the artist becomes a part of his analysis and art. 

“My hands and feet became sticky and ashened,” he reports after investigating the site of a recent forest fire, “as I felt the caramelized sap of freshly burnt branches crumble against my skin.” Along with an endless cycle of intensified love and renewed heartbreak, the artist embodies his earth-muse as his subjectivity becomes a specimen of emotion that he accesses as he paints. Materiality from the sites of the devastation does not only manifest itself on the artist’s skin and within his psyche, however, it literally becomes a part of the artwork. “Slash Pile,” located from the site of what was Sassin Forest on southwest Vancouver Island, contains ashes from the fires that raged and bones of the animals that weren’t able to flee; there is reclaimed iron oxide and oil as evidence of those responsible.

And, in almost all of the paintings, there is sand, earth fire-leeched of the nutrients that once supported millions of living creatures. Like a kid in a chemistry class, the artist whips his paint into meringue-y peaks and adds his ground-up ingredients that he then layers upon heavy linen with the finest possible brushes. Even the dents in the canvas become a part of conversation as these stories are painstakingly inscribed to materialize the pulse of love and outrage.

Mimetic to the land that Scheurmann strives to save through art, these paintings are bodies telling stories of what is still living, at this moment dying, and struggling to be reborn. 

-Karen Moe, 2026


Kyle Scheurmann is a contributor to Karen Moe's second book, Listening, Once Again, to Our Great Mother: The Fairy Creek Blockades and the Life Story of Pacheedaht Elder Bill Jones.

Watch Kyle Scheurmann's artist talk for We Could Have Been a Mountain

VIEW THE FULL COLLECTION

Casey McGlynn | Life in a Northern Town
April 11-28, 2026
Upper Gallery
3045 Granville Street, Vancouver
Opening Reception: Saturday, February 7, 2-4pm


Bau-Xi Vancouver proudly presents Life in a Northern Town, the new solo exhibition by Ontario-based artist Casey McGlynn. On his thirty-year anniversary of exhibiting in galleries and museums, McGlynn celebrates the simplicity of life in his northern Canadian town of Sault Ste. Marie (pronounced Soo Saint Marie, if you’re Canadian, eh!), sensitively and lovingly depicting local landmarks, features pulled from childhood memories, and ruminations on daily existence. He also continues his fascination with the horse, one of his earliest and most frequently occurring metaphors of the power of the self. 

The exhibition serves as a love letter to a very Canadian experience, replete with symbolism, pop culture influences, winking humour, and poignant autobiographical references in the artist’s signature raw style and vibrant palette. 

Artist statement:

With this new body of work I want to show the many details found 
in a life of simplicity 
Sailboats, a polar bear, skidoos, Tim Hortons, the big nickel in Sudbury… 
all symbols from my life in Sault Saint Marie
My northern Canadian life is far from the art world “down south”
but the images in this exhibition claim their equal importance
containing subjects that any Canadian might recognize
The line between folk and high art is again challenged and blurred
It’s not a need to feel important up here but rather
to feel I have a say
a voice 
a part in the cultural moment

-Casey McGlynn, 2026

Barbara Cole | Painting with a Camera
Solo Exhibition
March 7-21, 2026
3045 Granville Street, Vancouver
Opening Reception: Saturday, March 7, 2-4pm
Artist In Attendance | Artist Talk & Tour 2:15pm


Bau-Xi Vancouver proudly presents Painting with a Camera, the new solo exhibition by award-winning Canadian photographic artist Barbara Cole and her first solo exhibition in Vancouver since 2017. Painting with a Camera features a special selection of works from Impermanence, Shadow Dancing and Somewhere, three of Cole's recent series and two of which were shot underwater, which together build a compelling and striking narrative of the fluid and ever-changing nature of identity. 

As an innovator in her field, Cole uses both traditional and inventive techniques as part of her ongoing search for timelessness. She has held numerous exhibitions across North America, Europe, Asia, and the Middle East. Her work has also been extensively commissioned internationally for corporate collections. She has exhibited in the Canadian Embassy in both Tokyo and Washington D.C. The acclaimed documentary series Snapshot: The Art of Photography II, features an episode devoted exclusively to Cole’s photographic practice. She published her book, Between Worlds, with teNeues publishing house in 2023. 

We are thrilled to have Barbara Cole in attendance for her opening reception on Saturday March 7. The artist will present a talk & tour beginning at 2:15pm.

Artist statement:

In these three series, Impermanence, Shadow Dancing, and Somewhere, I use the camera as a paintbrush, creating photographic studies that explore identity, transformation, and the spaces between what is seen and felt.

In Impermanence, the body slips beneath the surface of water and begins to disappear. What remains — fabric, movement, light — becomes the figure. Dresses drift and breathe as if alive, turning fashion into a shifting stand-in for identity itself. Suspended in water, form dissolves and reforms, suggesting that who we are is fluid, something we can inhabit, remix, and release.

Shadow Dancing moves inward. Using the historic wet collodion tintype process layered with subtle color, Cole creates handmade images that feel suspended between centuries. Fragmented figures, partial wardrobes, and headless bodies interact with their own shadows, exploring the quiet tension between our public selves and our private histories. Light and shadow become both metaphor and material, acknowledging that without darkness there is no illumination — and without the past, no becoming.

In Somewhere, play takes center stage. Women drift through dreamlike interiors — chandeliers, marble staircases, gilded mirrors — merging underwater weightlessness with grand architectural space. Time bends, eras collide, and imagination transforms the figure into something unbound. These images inhabit a space between reality and fantasy, where wonder, memory, and possibility coexist.

Together, these series are studies in seeing differently: experiments in light, movement, and perception that blur the line between photography and painting.

-Barbara Cole, 2026


VIEW THE FULL COLLECTION

Anda Kubis | The Path
March 5 - 30, 2026
Bau-Xi Gallery | Dufferin
1384 Dufferin Street, Toronto
Opening reception: Thursday, March 5th from 5:30 - 7:30 pm | Artist in Attendance

This March, Bau-Xi Gallery | Dufferin is pleased to present The Path, a body of work inspired by the rhythms of rural Ontario, featuring paintings created through a slow process of layering oil paint to evoke presence and patience. The vibrancy of Kubis’ palette is guided by nature, with minerals, flowers, and shifting light all contributing their influence on the canvas. Kubis utilizes branch-like lines and circular forms to create an immersive experience, balancing intentionality with spontaneity to explore the landscape. 

Artist Statement:

The Path is a new body of work drawn from the rhythms of daily life in rural Ontario, where my studio is now situated. Shaped by seasonal cycles of walking, observing, and a focused studio practice, the paintings emerge as vivid acts of presence and patience.

Inspired by the surrounding trees and the debris left by ice storms, branch-like lines serve as the starting point for each painting. These lines function as pathways, guiding movement across the composition. Gradually buried within the painted surface, line gives way to circular forms that push, pull, and animate the field. Through the slow layering of oil paint, colour becomes increasingly saturated while simultaneously taking on a sense of ephemerality. This intuitive process requires an ongoing relinquishing and regaining of control.

Colour both reflects and absorbs the viewer’s gaze, drawing the eye into an immersive experience. Derived from sources such as minerals, flowers, and shifting natural and artificial light, my objective is to achieve a complexity of colour that rewards sustained viewing. A parallel approach informs my digital image-making, where layers are repeatedly added, shifted, and rearranged until a composition emerges that balances tension and vibrancy.

Patience is central to my practice. In rural life, I seek calm, yet anxieties often surface, reminding me that presence must be actively pursued and continually rediscovered through painting. Each work unfolds as a dialogue between intention and spontaneity, through which I learn by making and attune myself more deeply to the world around me. – Anda Kubis

__________

Anda Kubis is a recognized Canadian abstract painter working in expanded digital, material, and traditional oil painting processes. Due to the prominence of colour in her artwork, Kubis consciously considers how the engagement with aesthetics and creativity positively affects human flourishing and quality of life. With degrees from Nova Scotia College of Art and Design and York University, Kubis crosses her artistic practice with design and architecture, material exploration, and her significant teaching career.

Numerous public and private collections have acquired Kubis’ work, including RBC, TD Bank, BMO, Cenovus Energy, Aimia, The Westaim Corporation, and the Canadian Department of Foreign Affairs, Trade and Development. Kubis is currently a faculty member at OCADU.

VIEW THE FULL COLLECTION

Janna Watson | Undercurrent
February 7-21, 2026
Main Level Gallery
3045 Granville Street, Vancouver
Opening Reception: Saturday, February 7, 2-4pm


Bau-Xi Vancouver proudly presents Undercurrent, the new solo exhibition by Canadian abstract artist Janna Watson. Bold, energetic compositions and suspended forms in the artist's iconic style reflect a focus on the interior landscape of the subconscious, making use of shifting tonal contrasts and undulating strokes to create a sense of contemplative movement. Emphasis on a central form or gesture acts as a metaphor for the genesis of emotion and the heart of the self.


Artist statement:

To drag something over from dark to light is a spiritual, psychological and aesthetic operation. The work in this series is an autobiographical project of integration: my artistic practice is invested in self recognition, honesty and the reconciliation of private history with public form.

Undercurrent examines the subconscious as a site of transformation and poetic force. The paintings configure an exchange between dark and light, surface and sediment and what is not seen but felt.    

Solar and lunar motifs in centred compositions propose that the heart can generate and modulate radiance - that interiority is itself a kind of sky and what is contained below the surface is an active agent of transformation.

-Janna Watson, 2026


VIEW THE FULL COLLECTION

Cara Barer | Wandering
February 5 - March 2, 2026
Bau-Xi Gallery | Dufferin
1384 Dufferin Street, Toronto
Opening reception: Saturday, February 7th from 2 - 4 pm | Artist in Attendance

This February, Bau-Xi Gallery | Dufferin is thrilled to present Wandering, a transformative exhibition by acclaimed photographic artist, Cara Barer. Within her unique and dynamic practice, Barer uses printed materials – such as maps and reference texts – to discuss how the meaning and function of these objects change when placed within an entirely digital framework. The resulting documentation of these ‘sculptures’ are intended to explore notions of impermanence and the erosion of knowledge in our current day and age

Artist Statement:

I work with discarded maps and reference books as both material and metaphor. Once designed to orient or instruct, these maps and books have outlived their practical use, replaced by digital navigation and constantly shifting borders. By soaking, folding, compressing, and re-forming them, I transform flat systems of information into sculptural objects.

I am interested in how knowledge erodes when total dependence is placed in a digital world, and how meaning changes when the original function of a physical map or guidebook is removed. 

Photography allows me to fix these temporary forms by preserving a moment of physical tension. My camera becomes a tool of translation, moving the work from object to image.  Through this process, my books and maps become meditations on impermanence, how we seek knowledge or obtain information, and the human desire to locate ourselves within an ever-shifting world. – Cara Barer

Co-Director of Bau-Xi Gallery, Kyle Matuzewiski, writes:

Having represented Cara’s work at Bau-Xi for almost 15 years, it is not lost on me how her work has been a harbinger of our increasing dependence on digital means to access information.

By using reference texts, atlases, journals, and so on, Cara creates and weaves a narrative whereby she acknowledges the importance of those texts – from a historical perspective – but negates their relevance via their deconstruction. The sculptural element of the documentation (resulting photograph) could also be a metaphor for how we interpret, internalize and interact with information in a digital world. That information becomes fragmented, summarized, and at times lacks the full weight with which it should carry.

Beyond that, Cara creates truly captivating images, which continue to delight and amaze both viewers and collectors alike. The sheer imagination within her practice is a guiding force that will lead to countless creations.

__________

Cara Barer is an internationally recognized established American photographer known for her abstract compositions of books and printed material.

In her experimentation with curling irons, clothes pins and water, Barer transforms volumes of irrelevant and outdated information into coiled, crumpled objects of beauty. By photographing each object as the last step in her creative intervention, Barer affords a second life to the cast-off books and paper she re-reinterprets. Fanciful and symbolic, Barer’s works allude to the status of the book in the contemporary digital age while offering an open narrative for each viewer to contemplate. In Barer’s latest work, the artist’s creations – books bound with sheet music, wallpaper, and pictures from her travels – are captured after being transformed into magnificent abstract compositions.

Cara Barer has exhibited in solo and group shows throughout the US and Canada since 1994. Her work has been featured extensively in such publications as New York Magazine, The Washington Post, Harper’s Magazine, The Boston Globe and The New Yorker, and can be found in the collections of Bloomingdale’s, Saks, Lehigh University, Nordstrom, United States Embassy, Kyiv, Ukraine, VISA, Wells Fargo Bank and Museum of Fine Arts, Houston.

Barer lives and works in Houston, Texas.

VIEW THE FULL COLLECTION

Gallery Artists | Chroma II
February 5 - March 2, 2026
Bau-Xi Gallery | Dufferin
1384 Dufferin Street, Toronto | Upper Gallery
Opening reception: Saturday, February 7th from 2 - 4 pm

This February, Bau-Xi Gallery | Dufferin is proud to present Chroma II, a group exhibition featuring works by Alex Cameron, Mel Gausden, Celia Lees, and Eric Louie.

In artistic parlance, chroma refers to the purity and depth of a colour. An artist will employ chroma in a myriad of ways, whether it be a vibrant pop, pulling your eye towards certain elements of the composition – or a dark richness, creating a sense of contrast and depth. Each of these artists uses high chroma in their respective practices. As a result, their work is bold and energetic, often applying paint directly from the tube, only adding tints, tones, and shades by necessity.

These artists can utilize these techniques to create uniquely stunning work, catching your eye, and drawing you in to absorb one colour after another.

To learn more about the practices of these artists, we suggest you check out our YouTube channel - click here.

VIEW THE FULL COLLECTION