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Shawna Ariel’s work and curatorial projects have been presented at artist-run centers, pop-up exhibitions, and alternative spaces across Vancouver, including James Black Gallery, Langley Arts Council, Access Gallery, Emily Carr University Zone 1, Object Corner and Neighborhood Gallery, Grey Lab, and other underground venues for experimental and interdisciplinary art and music. She currently curates for Champions of Hope, a Vancouver-based fundraising organization, and her work has been featured in publications ranging from Vice to online podcasts and independently run magazines. Ariel is actively involved in artist collectives and supports emerging artists and designers through promotion and collaboration, including her work with Last House Collective and EyeColor Collective. In addition to exhibiting her own art, she aims to elevate others’ projects through performative and collaborative approaches. Currently in her final year of a Bachelor of Fine Arts, Ariel’s integrated practice of painting and curation is driven by the belief that art is transformative, capable of raising awareness, fostering connection, and inspiring meaningful change in communities and individual lives.

Vancouver needs a Peanut, 2026 Painting, performance and sculpture installation, oil and acrylic on modified canvas Vancouver Needs a Peanut, 2026 is an installation about the Vancouver sociopolitical crisis in relation to the past, Vancouver’s art scene, with emphasis on Vancouver artist Vincent Trasov, known also as Mr. Peanut. Vancouver Needs a Peanut , 2026 looks at the past as forms for critiquing the present, suggesting to viewers the need for a unifying, if unconventional, figure for positive change. A hero for the people who can represent and unite us all. Vancouver needs a peanut, but the real question is, is Vancouver ready? Vincent Trasov from 1969 to 1974 produced drawings, photographs, videos, and performances that explored the image of Mr. Peanut in popular culture. His most public project was in 1974’s Vancouver mayoral campaign, organized with artist John Mitchell. Running as Mr. Peanut Trasov used humor and absurdity to critique Vancouver’s political systems while also positioning himself, the artist, as a public figure. This blend of performance, politics, and media attention brought Vancouver into a broader conversation about contemporary, conceptual art, socio-politics, and the crossing over of each into public life. He ran on an art-centric platform, spelled out in an acronym: P for Performance, E for Elegance, A for Art, N for Nonsense, U for Uniqueness, and T for Talent. His campaign was him, running as a candidate in the civic election, dressed as Mr. Peanut. Some of his campaign slogans were: "People are used to electing nuts" and “New Era, A New City, An Artcity”. Mr. Peanut didn’t win, retiring his peanut costume when the tv cameras showed his face rather then the winner. He did however capture a lot of media attention and even an endorsement from beat writer William S Burroughs who said, "I would like to take this opportunity to endorse the candidacy of Mr. Peanut for mayor of Vancouver. Mr. Peanut is running on the art platform, and art is the creation of illusion. Since the inexorable logic of reality has created nothing but insolvable problems, it is now time for illusion to take over. And there can only be one illogical candidate -Mr. Peanut." Taking Vincent Trasov’s ‘Mr. Peanut’ and placing him in today’s current climate reactivates what he also critiqued then, particularly today. In a world dominated by capitalism, displacement, terrorized by climate change, corruption and war, it is important that we not only show care for the people and places where we live but also stand up to injustices. Adopting the Mr. Peanut figure today, timing it so it coincides with the Vancouver 2026 mayoral elections, highlights how little has changed since then and how much has intensified. Vancouver and the world need saving, but who will rise to the occasion? What will you do? Vancouver needs a peanut, 2026 not only shows the cities collective identity, but "How 'now" is constantly repeating the patterns of 'then' " as Rodney Grahm put it. Vancouver Needs a Peanut, 2026 is a pentaptych sculptural painting installation and performance composed of five oil paintings on canvas, ranging from small to large. The installation also includes 2 small sculptures of golden peanuts. Made using pop-culture photos, modified and upcycled materials, this work questions civic identity, sustainability, and the role of the artist in times of crisis. Art can heal and overcome. This installation uses found and donated materials, drawing references to Walter Benjamin’s idea of the “ragpicker”. The “ragpicker” as someone who gathers and reassembles overlooked fragments of history to challenge dominant narratives. The way the paintings are installed are each arranged around the largest Mr. Peanut painting. The smallest peanut painting must be placed closest to the floor. This is the painting that contains the peanut that grounds Vancouver, and the whole installation. Each painting depicts different versions of Mr. Peanut. The largest Mr. Peanut painting contains photo conceptual references from Vancouver artists and is sized at 76” x 52”. The second to largest painting is a performing Mr. Peanut, tap, tap dancing away sized at 47” x 30”. There is an almost monochrome Mr. Peanut, with photos of his past collaged across him and neon yellow paint streaked across his face, sized at 21” x 16”. Fourthly, there is a Mr. Peanut with his hands on his face, mouth shaped in an o. He looks very worried, sized 4.5” x 5.5”. Lastly, the smallest of all the paintings, a tiny match box painting of Mr. Peanut with his cane. Poking out of the matchbox can be seen, a little gold peanut, sized at 1” x 2”. In the largest painting of Vancouver Needs a Peanut, 2026 installation, you can see Mr. Peanut breaking out of the painting, confronting the viewer directly. This scene feels familiar, drawing references from a popular scene in the original “1984 Ghostbusters”. Both Mr. Peanut and the Stay Puft Marshmellow Man, striking a similar ghostly tone and pose. The Stay Puft Marshmallow Man is the legendary "Destructor Form", a giant, paranormal manifestation of a fictional marshmallow mascot. How does this coincide with the image of Mr. Peanut? Maybe Mr. Peanut is Vancouver’s fictional manifestation; the mascot the city needs to unite us all. Mr. Peanut breaks not only the fourth wall in this painting but also the sixth wall. By using documentary role reversal, referencing the collages of photographs within each painting printed from the internet of Mr. Peanut’s campaign in 1974. Not only does Vancouver Needs a Peanut, 2026 use documentary style photographs, but the installation also contains photo conceptual references from Vancouver artists. Behind the striking image of Mr. Peanut breaking the fourth and sixth wall, you can see photographs by well-known Vancouver photo conceptual artists, replicated in paint. Seen painted behind Mr. Peanut are references to works by: Rodney Graham and his Millennial Time Machine, 2003, Stephen Waddell’s photography like Asphalt Layer #1 2001, Ian Wallace, particularly his use of color fields. Also along the right are Kelly Wood’s Continuous Garbage Project, 1998–2003 and her series The Vancouver Carts, with Stan Douglas's Stanley cup riot photo from 2011. In this rendition, I used a reference photograph taken by the Polygon Gallery for its advertisement promoting a conversation with Samir Gandesha and Kate Bird on October 6, 2022. By reworking this image, I create a continuous mirror effect between the viewer, the artwork, and the artist. Referencing the Stanley Cup riots, the piece draws the viewer into the scene, positioning them as both observer and participant. The transformation of photography into painting further blurs the boundaries between documentation and interpretation. Continuing through the painting, above the polygon photo can be seen Jeff Wall’s Hotels, Carrall St., Vancouver, summer 2005 depicting Vancouver's construction, the city that never stops growing. Lastly, Stan Douglas’s Abbott & Cordova, 7 August 1971, 2008 takes up the full bottom of the painting. This photographic reference by him reconstructs a historical moment of unrest in Vancouver. During the 1971 Gastown riot, a peaceful “smoke-in” against the city’s use of undercover agents and in favor of the legalization of marijuana erupted into a conflict with the police, fueled by anger over the neighborhood’s gentrification. Abbott & Cordova, 7 August 1971, 2008 is a powerful example of photography as history painting. In my installation, Vancouver Needs a Peanut, 2026, this work is now replicated, but through modified materials and paint. This installation takes aspects from important parts of Vancouver's history which helped shape the cities art identity, and shows them through a medium which has been referred to as dead. According to Paul Delaroche, painting died in the 1840's. I disagree with Delaroche, as painting for me is crucial tool in exploring and understanding our history. Within the largest painting in the installation, Mr. Peanut can be seen at the center, popping out of the art to come help save the day. He is framed by the Vancouver's artistic past. Around him, a border of blue, mimicking the Expo 86 postcard of Vancouver. Expo 86 is crucial to Vancouver because it acted as a "coming-of-age" event that transformed the cities region into a recognized world-class city. This fair changed Vancouver's waterfront 'accidently' giving the city one of its most iconic institutions, Science World. With the 40th anniversary on May 2nd this year, Science world still lives as one of Vancouver's most exciting destinations. However in this depiction, Science World is more of a leverage for Mr. Peanut to come through the work. Also in the Expo 86 border, subtle changes have been added. For example, the writing has been changed from “Expo 86” to Mr. Peanut’s campaign quote, “A New Era. A New Mayor. An Artcity.” The painting asks for an Artcity, yet in context shows one as well. When it comes to the performative aspect of Vancouver Needs a Peanut, 2026, the performance revolves around two small golden peanut sculptures. One golden peanut is placed inside the Mr. Peanut painting matchbox that resides within the installation. The second gold peanut is intended to be placed on the highest point of function within the exhibition walls. This gesture is the beginning of the performance, which asks whether the city will accept the golden peanut, and by extension, the change it represents. The golden peanuts are meant to be made large enough that they cannot be swallowed by wildlife but small enough they can be carried away. Ultimately, Vancouver Needs a Peanut, 2026 uses what the city disregarded, gave away, framing it in a way that criticizes and contextualizes the city's history. By using humor, replication, and absurdity, this installation addresses serious questions about our shared political leadership, collective identity, and the cities ongoing crisis. What has really changed since Mr. Peanut's campaign? Are we repeating our past mistakes? What is the role of the artist during times of unrest? During a time of uncertainty, war, chaos, displacement, insecurity, poverty and fear, the figure of Mr. Peanut becomes a symbol of Vancouver's resilience. A figure of hope, showing that artists are not only observers, we are instigators as well. Mr. Peanut ran his campaign to show how absurd politics are, I now take his persona and use it as a symbol to show not only the absurdity of today, but how Vancouver's problems, and the worlds, have festered, becoming worse. Vancouver Needs a Peanut, 2026 asks whether the city is ready to stand up, fight corruption and work together to create and accept real change, or whether Vancouver will refuse the peanut once again. Essentially staying in its old toxic ways. My Home Vancouver, She's like a loaded gun, 2026 Painting and sculpture installation, oil and acrylic on canvas and upcycled casing My home Vancouver, 2025 Oil, pastel and acrylic on canvas, 64” x 83” installation My home Vancouver is a large painting on canvas off frame sized 60"x100". This painting is inspired by my travels through British Columbia, capturing the journey into Vancouver along the highway. At its heart, this painting is about home, community, and belonging. I love Vancouver deeply, its forests, its streets, its people. My family immigrated here, and I was raised by my mother and grandparents. This painting has allowed me to reflect on what makes a place feel like home: the people who live there, the communities that support each other, and our connections to our communities and our environments. Everyone deserves respect in our home and I want everyone to feel that sense of belonging in the places they call home, and through this painting. The works reflect how we find our identities through the land we inhabit and in the ways we practice reciprocity with the environment. She had to leave her flowers, Extracted, displaced, and disconnected. Adjusting was hard as cold winds blew, But here she knew she’d stay, For this land is kind. The little white flowers grew here too. Home is when I am with you. She is like a loaded gun, 2026 Sculptured oil painting, 18” L x 5” H x 3” W installation She Is Like a Loaded Gun refers to the mother of all things, Mother Nature, as well as the artist herself. In this work, Shawna Ariel reflects on her personal relationship with nature and hunting culture. While she is not a mother, the piece considers ideas of care, responsibility, and reciprocity with the natural world. As someone who hunts and fishes, Shawna Ariel believes it is important to practice reciprocity whenever possible. For her, harvesting her own food with care and respect feels more ethical and accountable than purchasing meat from a grocery store, where the processes of death and extraction are often hidden from view. This piece is her way of giving back within that cycle. The sculptural painting reflects the idea that all beings are carried by forces larger than themselves, moving with the currents of life and bound together within the same ecosystem. By transforming a wooden gun casing into a plant pot, the work challenges extractive capitalist relationships to nature, reimagining an object associated with death as one that instead nurtures and sustains life. Planted within it are Indigenous species she has grown from seeds gathered when visiting the Fireweed Fields project at the Morris and Helen Belkin Art Gallery, along with ferns she grew from seed.

Payments -Online etransfers to shawnabeckerrecker@gmail.com -Cash -Commissions or holds are subject to full or partial pre-payment Please email Arielmixedmedia@gmail.com to begin your order. Payment Methods

Hand Painted Artwear Bugs Like Me Handpainted artwear collection includes 2 fashion series. "Bugs like me" and "Ariel Artwear" To see dimensions and all photos please follow this link Bugged by the state of the world, “Bugs Like Me” is the artist and designer’s response to today’s chaos and environmental destruction. An upcycled fashion series that merges painting and ecology, it challenges consumerism and political culture. Using second-hand materials and humor, it critiques politics, climate change, and waste, re-imagining a future of self-sufficiency, harmony and reciprocity with nature.

My British Columbia, is an exploration of the shifting relationships between more-than-human life and environmental changes across British Columbia. Recognizing the inherent value and dignity of all people, including Indigenous peoples and their knowledge. I have been studying and traveling to various ecosystems, forests, riversides, and urban parks, observing and engaging with the more-than-human species and their surroundings. My study includes places close to my home in Vancouver B.C. like Mount Pleasant and Queen Elizabeth Park, but also includes places from my travels across British Columbia. I document these experiences through live paintings and sketches, capturing real-time interactions and reflections in my art journal. I’m inspired by Julia Rothman’s Nature Anatomy, which blends illustrations with scientific observations, and I aim to do something similar but with a focus on British Columbia. My documentation offers snippets of notes, diagrams, and illustrations that reflect more-than human life and places I encounter. My goal is to capture how ecosystems adapt to environmental changes, seasonal transitions, and the ongoing impact of climate change. I observe how more-than-human life responds to everything from temperature fluctuations to human interactions and natural events. This project is about documenting life and my own connection to my home in British Columbia while deepening my understanding of how my art can support and reflect the natural world around us. I’m mindful of recognizing that all humans and more-than human inhabitants have intrinsic worth and deserve respect and care. I show this respect by using native names and language in my studies, emphasizing the importance of Indigenous knowledge in my studies. To My B.C. website

Some of our past shows and curated events. Curated Group Exhibitions and Workshops under Suitcase Co. 2026 - Suitcase Collective, "Home is when I am with you" group show, Emily Carr University zone 1, Vancouver BC 2026 - Suitcase Collective and Confused Colors, "Value me" group show, Take your time Front Vancouver BC 2025-present - Artist Curator for Champions of Hope, Monthly shows, Vancouver BC 2025 – Last House Collective, “Last House last show of the year, group show”, Vancouver BC 2025 – Suitcase Collective, “Digital Fantasies” Dual show, Vancouver BC 2025 - Visual artist promoter and model for Emily Carr University student exhibitions, The Object Corner, "HANGER ISSUES," Vancouver, BC 2025 - Artist showcases at Little Cow Concerts, Vancouver, BC, Sonic Garden at The Pearl, Vancouver, BC, Physic Geist at The Wise Hall, Vancouver, BC 2025 - Visual artist promoter for Eyecolor Collective at The Pearl, Vancouver, BC 2025 - Mixed media upcycling and fabric painting workshop with Downtown Eastside Arts & Crafts Society, Vancouver, BC. 2024 - Artist director, vender and live painter for FAUNA SERIES at Industrial 236, Vancouver, BC. 2024 - Assistant for art therapy workshop with Zana Becker Art Therapist, Vancouver, BC. Follow Suitcase co. on Linkedin Follow Suitcase co. on Instagram Let’s Work Together Get in touch so we can start working together. First Name Last Name Email Message Send Thanks for submitting! Get connected, grow your community, support Vancouver's local art and music scene. We're here to grow your network, no gatekeeping. Here are some of our connections, to artist open calls, art collectives, galleries, and organizations that contribute to build our local scene. Let us know if we are missing anyone! Art and music collectives & organizations, venues & artist run spaces, and independent galleries . For the latest upcoming- Vancouver exhibitions: https://www.instantcoffee.org/ Vancouver more shows and concerts: https://www.twiv.ca/calendar COLLECTIVES & ORGANIZATIONS : Suitcase co Last House Collective Trashcan.media Eye color collective Champions of Hope (organization) Little Cow Concerts Namado Art House Collective This week in Van Coral foundation Cryptoid craft Collective LCD magazine Collective Bunch Vancouver tenant union Weaving our worlds collective Neurodivergent artist collective Rise collective Vancouver poetry collective Dirty Hands Collective Fingers Crossed Press Vancouver historical society Jazz noise collective Brava Collection Thundercloud Collection Vines art society DULF Pancakesandbooze UBC Cry Club COLLECTIVE VENUES/ ARTIST RUN SPACES: Anti social Alf House Lucky's Comics Birdhouse The Cultch ( Vancouver East Cultural Centre) Croatian Cultural Centre Italian Cultural Centre Zulu records The Russian Community Hall Heritage Hall Wise Hall The Heatley Blim The Cobalt Lanalou’s the Railway Club Fortune Sound club Bullies The Anza Club Gastown7 Green Auto Little mountain neighborhood House Red Gate Dusty flower pot Noise flur recording studio Dundrave printshop Dunbar Jungle House City Centre artist lodge - City Centre Artist Lodge INDEPENDENT GALLERIES: Gallery 626 Slice of Life James Black Gallery Take your time Griffin Art Projects Artist Run Artspeak Canton-Sardine OR gallery Western Front VIVO 221A Access Grunt Gallery Helen Pitt Gallery Center A CSA Sunset Terrace The Polygon Gallery Equinox Gallery Audain Art Museum Burnaby Art Gallery Simon Fraser Galleries Catriona Jefferies Gallery WAAP Monte Clark Gallery Paul Kyle Gallery The Contemporary Art Gallery Morris & Helen Belkin Art Gallery at UBC Burrard Art Foundation Pale Fire Project New Media Gallery Fazakas Gallery Gallery Jones Polygon Gallery West Vancouver Museum Gallery Gachet CSA The Griffin Art Project Afternoon Projects Trapp Projects The Gordon Smith Gallery of Canadian Art + Artists for Kids Macauley & Co Fine Arts

SHAWNA ARIEL BECKER Vancouver, BC | arielmixedmedia@gmail.com | "https://linktr.ee/arielmixedmedia"arielmixedmedia PROFESSIONAL SUMMARY Shawna Ariel is a neurodivergent mixed media painter, installation artist and freelance curator based in Vancouver, BC, on the traditional, unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations. As a settler on stolen land and the child of a diasporic parent, she is conscious of her position within these histories. Her work blends fantasy, science fiction, ecology, humor, and storytelling, often using upcycled and thrifted materials. Ariel explores identity, the ecology of her home, and human connection, transforming discarded objects into artworks that spark conversation and encourage social engagement. She is the founder of The Suitcase Curatorial Collective, a community-driven initiative supporting emerging artists and collectives through exhibitions, opportunities to showcase and sell work, participate in workshops, collaborative projects, and public programming. She actively organizes and participates in charity-focused events, including art raffles and fundraisers, using her curation and artwork to support social causes, such as initiatives that promote equity, community well-being, and access to the arts. Her practice challenges conventional definitions of art, emphasizing empathy, sustainability, and the power of personal and collective stories in a world dominated by commercialism. Ariel’s work and curatorial projects have been presented at artist-run centers, pop-up exhibitions, and alternative spaces across Vancouver, including James Black Gallery, Langley Arts Council, Access Gallery, Emily Carr University Object Corner and Neighborhood Gallery, Grey Lab, and other underground venues for experimental and interdisciplinary art and music. She currently curates for Champions of Hope, a Vancouver-based fundraising organization, and her work has been featured in publications ranging from Vice to online podcasts and independently run magazines. Ariel is actively involved in artist collectives and supports emerging artists and designers through promotion and collaboration, including her work with Last House Collective and EyeColor Collective. In addition to exhibiting her own art, she aims to elevate others’ projects through performative and collaborative approaches. Currently in her final year of a Bachelor of Fine Arts, Ariel’s integrated practice of painting and curation is driven by the belief that art is transformative, capable of raising awareness, fostering connection, and inspiring meaningful change in communities and individual lives. EDUCATION Emily Carr University of Art + Design — Bachelor of Fine Arts, painting, curation Vancouver, BC | Jan 2022 – Present The Art Institute of Vancouver — Fine Arts Studies, digital design, traditional fine arts techniques Vancouver, BC | Jan 2017 – Jan 2021 Langara College — Fine Arts Certificate, life drawing, painting, sculpture, design Vancouver, BC | 2015 – 2017 TECHNICAL + CREATIVE SKILLS Curation | Art Event Planning | Grant Writing Community Outreach | Public Speaking Mixed media painting | Fine Art and Design techniques | Art material handling | Digital and film photography | Curation | Management | Operational | Logo design and branding | Marketing and business development Canva | Adobe Photoshop | Graphic Design | Adobe Creative Suite | Content creation EXPERIENCE Curator for Champions of Hope Vancouver, BC | Dec. 2025 – Present Founder of Suitcase Curatorial Collective, organizing exhibitions, open calls, and networking events, signed a contract to curate fundraising organization Champions of Hope. Manage artist calls, curation, and gallery communications for artists at each event by-monthly. Artist + Freelance Curator Vancouver, BC | May 2015 – Present Founder of Suitcase Curatorial Collective, organizing exhibitions, open calls, and networking events Manage grants, submissions, and gallery communications for emerging artists Marketing & Business Development Lead Pro Broker Agency (Rob Sutherland) Vancouver, BC | Aug 2025 – Present Designed branded marketing materials using Canva Conducted cold outreach to brokers, inspectors, and realtors to generate leads Student Ambassador & Gallery Monitor Emily Carr University of Art + Design Vancouver, BC | Sept 2024 – Present Lead tours for prospective students and parents Support ECU Gallery Go by promoting openings and building community connections Liaison between students and faculty for events and exhibitions Art Collective Leader / Residence Manager Vancouver, BC | May 2018 – June 2022 Managed a shared living and working art space for 8+ creatives called “Diva Den” Organized community events, exhibitions, and music shows Fostered collaboration and community among emerging artists Administrative Assistant / Data Entry Dexter Associates Realty Vancouver, BC | Sept 2012 – 2019 Managed phones, appointment booking, and data entry Created marketing materials and maintained office organization EXHIBITIONS: For full exhibition history, visit:  " https://linktr.ee/arielmixedmedia"arielmixedmedia Solo Exhibitions: 2024 - Portland Craft, “Shawna Ariel Mixed Media, a solo Exhibition,” Vancouver, BC. Select Group Exhibitions: 2026 – The byo show, vscreative lab, 1884 Main street, Vancouver BC 2025 – Last House Collective, “Last House group show”, Vancouver BC 2025 – Suitcase Collective, “Digital Fantasies” Duel show, Vancouver BC 2025 - Langley Arts Council, "Beyond Barriers Exhibition", Vancouver, BC. 2025 - James Black Gallery, "Fashion Show DIAMOTIAS Night of Fashion," Vancouver, BC. 2025 - The Mezzanine "Champions of Hope Vol. 1 and 2",Vancouver, BC. 2025 - Goodcowood Eyecolor Collective, "New doors old openings art show," Vancouver, BC. 2025 - Emily Carr University student exhibitions, The Object Corner, "HANGER ISSUES," Vancouver, BC 2025 - Emily Carr University Library, "Does the Ocean end?," Vancouver, BC 2025 - Maniacal Maniacs's Studio, "Maniacal Maniacs Backyard Art show," Vancouver, BC 2024-2025 - (pop up venues monthly) 648 Kingsway, Grey Lab, "The Last House in Vancouver," Vancouver, BC 2024-2025 - The Hoxten, "Gastown7," Vancouver, BC 2024 - Access Gallery "Members show and sale," Vancouver, BC 2024 - 45 W Hastings St "The Creative Cabaret," Vancouver, BC 2024 - James Black Gallery, “Beautiful Trash for Beautiful People Gallery,” Vancouver, BC 2024 - Portland Craft, “Portland Craft Showcase,” Vancouver, BC. ART MARKETS Recent Art Markets & Shows (2025): 2026 – Champions of Change, fundraiser, Arts Umbrella, Vancouver BC 2026 – Champions of Hope series, The Mez, Vancouver BC 2025 - Visual artist and curator collaborator and promoter for Digital Fantasies at Artworks, Vancouver, BC 2025 - Visual artist collaborator and install and lead for Last House at Artworks, Vancouver, BC 2025 - Visual artist collaborator and promoter for Champions of hope at The Mezzanine and Astoria, Vancouver, BC 2025 - Artist showcases at Little Cow Concerts, Vancouver, BC, Sonic Garden at The Pearl, Vancouver, BC, Physic Geist at The Wise Hall, Vancouver, BC 2025 - Visual artist collaborator, promoter and live painter for The Lily Dippers at The Beaumont, Green Auto stage 2, Vancouver, BC 2025 - Visual artist collaborator, promoter and live painter fawnriot Sonic Garden at The Pearl, Vancouver, BC 2025 - Visual artist vender, promoter and live painter for The Robson band's shows at Portside and The Roxy, Vancouver, BC 2025 - Visual artist collaborator, promoter and live painter for Cotton and Stone for Little Cow Concerts at Granville Island, Vancouver, BC 2025 - Visual artist collaborator and promoter Open Doors Art Show at Goodcowood, Vancouver, BC 2025 - Visual artist collaborator, promoter and live painter The Plant Show Green Auto, Vancouver, BC 2025 - Visual artist collaborator, promoter and live painter Spank Williams at the Hollywood Theatre, Vancouver, BC 2025 - Visual artist vender and live painter for Faeted Fantasy market and showcase at The Vancouver Club, Vancouver, BC 2024 - Visual artist vender and live painter for Yeah Man and Yeah Mam shows at Ositos and The Cobalt, Vancouver, BC 2024 - Vines Art Festival Market at the Russian Hall, Vancouver, BC 2023 - 648 Art Market at Take your time back & 648, Vancouver, BC Curated Group Exhibitions and Workshops under Suitcase Collective: 2026 - Suitcase Collective, "Home is when I am with you" group show, Emily Carr University zone 1, Vancouver BC 2026 - Suitcase Collective and Confused Colors, "Value me" group show, Take your time Front Vancouver BC 2025-present - Artist Curator for Champions of Hope, Monthly shows, Vancouver BC 2025 – Last House Collective, “Last House last show of the year, group show”, Vancouver BC 2025 – Suitcase Collective, “Digital Fantasies” Dual show, Vancouver BC 2025 - Visual artist promoter and model for Emily Carr University student exhibitions, The Object Corner, "HANGER ISSUES," Vancouver, BC 2025 - Artist showcases at Little Cow Concerts, Vancouver, BC, Sonic Garden at The Pearl, Vancouver, BC, Physic Geist at The Wise Hall, Vancouver, BC 2025 - Visual artist promoter for Eyecolor Collective at The Pearl, Vancouver, BC 2025 - Mixed media upcycling and fabric painting workshop with Downtown Eastside Arts & Crafts Society, Vancouver, BC. 2024 - Artist director, vender and live painter for FAUNA SERIES at Industrial 236, Vancouver, BC. 2024 - Assistant for art therapy workshop with Zana Becker Art Therapist, Vancouver, BC. Additional references are available upon request. Public Collections: “Azzucar Morena Radio” Vancouver BC 2025, https://playlist.citr.ca/podcasting/xml/azzucar-morena.xml “Champions of Hope Podcast” Vancouver BC 2025, https://www.youtube.com/@Champions.of.hope.series Publications and Media: “Beautiful Trash for Beautiful people” Reconstruction. Volume 7, April 2025. Pages 33-34 “Beautiful Trash for Beautiful people” Art is dead. Volume 4, Augst 2024. Pages 50-51 “Vancouver's shrinking nightlife scene is bringing artists closer together” Vice article, April 17th, 2019 "Gift Baskets for Peace: Rose and Lily" Justice and restorative justice practice conference curated by Sue Dorey, Administration Staff - Program Manager, Violence Reduction + Incident Response at Emily Carr University. October 2024 “Conflagration of Mount Con Reid” NFT Bali 2024: The Soul's Palette June, 2024 "No Frills: a Cityscape" HUG Visionaries 2024 (Spring/Summer) "My Mind is a Garden" The SDG:3.4 Creative Arts Project, 2024 "A Surfer's Perspective" Floor ICONS Series 3, 2024 Member of the Following Organizations: Suitcase Curatorial Collective, Created in 2025, Leader Champions of Hope, Joined 2025 Last House Art Collective, Joined 2024 Eyecolor Collective, Joined 2024 Diva Den Art Collective, Created 2020-2023, Leader