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Director’s Report

On behalf of its Board of Directors, staff and volunteers, I want to extend deep thanks to The Polygon’s members and audiences for their support and engagement throughout 2023. It was a year of many accomplishments for the Gallery, one that showcased the hard work of its talented staff, and throughout which the warmth and energy of our audiences was keenly felt, particularly in response to an artistic program that we were proud to see flourish.

In addition to these many successes, 2023 also saw profound tragedy across the globe, with conflicts that tested the strength of many kinships. Over the year, The Polygon strove to nurture a space that encouraged dialogue and discourse, and to support a critical environment for artists’ voices and an ethos of generosity for all who engaged with their work.

The Polygon Gallery experienced deep personal loss in 2023. On June 23rd, we lost Gallery Manager Diane Evans far too early. Diane began work at Presentation House Gallery in 1987 and over a 36-year tenure, her work ethic, together with a deep love for photography and photographers, came to be defining facets of the organization. She is irreplaceable, and we are grateful for the generosity of an anonymous donor to name her beloved bookstore in her honour.

Shortly after Diane’s passing, the Canadian art community lost two of its most devoted supporters, Phil Lind, on August 20th, and Michael O’Brian on October 6th. Their absences are keenly felt, and we think often of their steadfast advice, advocacy, and generosity as we continued our work without their presence.

The Gallery’s 2023 programme, fittingly, began with Leaving and Waving by Deanna Dikeman, curated by Diane Evans. This was followed by the culmination of the 2022 Response program, Response: Resonance curated by Serena Steel; Rebecca Belmore’s BAF public art commission Hacer Memoria, curated by Helga Pakasaar; and As We Rise, Photography from the Black Atlantic, drawn from the collection of Kenneth Montague and curated by Elliott Ramsey. The year also featured the North American premiere of Jeremy Shaw’s Phase Shifting Index, originally commissioned by Paris’ Pompidou Centre, as well as From Slander’s Brand, comprised of three monumental artworks by Ron Terada, Hannah Darabi and Rachel Khedoori. The year ended with Diane Evans and Sunlight, featuring Diane’s vibrant and little-known photography, curated by Linda Chinfen and Karen Love.

In parallel to our exhibitions, I commend the unprecedented growth of The Gallery’s public programming in 2023, beginning with Meet Me at the Gallery, initiated by the Gallery’s Indigenous Liaison Joelle Johnston; the relaunch of Gallery School by Oluwasayo Olowo-Ake; a dynamic program of events curated by Jen Sungshine; as well as the popular Deckchair Cinema coordinated by Michael Mann. I’m also indebted to the commitment of our building and installation team led by Nomi Stricker and Daniel Phillips, and our Guest Services team, led by Chris Mackay. Importantly, in 2023 The Polygon welcomed Monika Szewczyk back to Vancouver as the institution’s second Audain Chief Curator. I look forward to her work leading our amazing curatorial team well into the future.

The Gallery’s programming could not happen without the tremendous energy and resources of a team led by The Polygon’s Associate Director Jessica Bouchard, who have helped bring the Gallery alive through their commitment to raising the necessary revenues to support The Polygon’s activities. My thanks to Andrea Jensen for her work with our government partners, Carie Helm for leading the growth of the Gallery’s membership and leadership programs, Jessica Walker for shepherding our venue rentals program, Faye Bednarczyk for her broadening portfolio of corporate partnerships, and Molly O’Callaghan, who is managing the resources of an evolving and rapidly growing workplace. Finally, I express thanks to The Polygon’s Board of Directors, chaired by Kevin Hisko, who have supported the Gallery’s work with diligence, enthusiasm, and commitment.

Reid Shier
Director

Banner image: Diane Evans, Exhibition Park Race Track, 1979