Indigenous artists’ collaboration will continue during Vancouver Art Gallery redesign

Debra Sparrow talks on the new design at the Vancouver Art Gallery. (Courtesy: Vancouver Art Gallery) (Scott Little Photography/Scott Little Photography)

Plans for the new Vancouver Art Gallery building are going back to the drawing board, but that’s not to say its groundbreaking Indigenous design will be lost.

In December, the gallery announced it would be severing ties with Swiss architectural firm Herzog & de Meuron and starting from scratch with the design amid financial concerns over the $600 million upgrade.

Addressing concerns that any new project may not have a strong First Nations voice, Anthony Kiendl, CEO and executive director of the Vancouver Art Gallery, assures the message of reconciliation will remain front and centre.

The artists recruited to collaborate on the first design – Sḵwx̱wú7mesh Úxwumixw (Squamish Nation) artists Skwetsimeltxw Willard “Buddy” Joseph and hereditary chief Chepximiya Siyam’ Janice George, səlilwətaɬ (Tsleil-Waututh Nation) artist qʷənat, Angela George, and Musqueam artist Qwasen, Debra Sparrow – will continue on with the project and elements of the old design will be incorporated into the new, he said.

“We certainly want to retain all of the work that we’ve done,” said Kiendl.

“Whether or not the look and feel or idea changes, it’s too soon to say, but we are committed to working with these Indigenous artists to create an incredible design that is unique and speaks to [Vancouver]” he said, adding how the city boasts a culture that “does not exist anywhere else” and should be represented accurately.

Sparrow, a Musqueam weaver and jewellery maker, said the scrapping of plans has been “bittersweet” for the artists involved.

“We’re sad to let the thread go of the architects that we worked with for the last three years … but at the same time, we’re looking forward to meeting whoever these new architects will be, and to sit with them and have many discussions about how we can put our vision in place,” she said.

In collaboration with Herzog & de Meuron, the quartet of artists had initially designed a copper facade that would wrap around the new wood and glass gallery building.

Inspired by weaving, a craft inextricably linked with First Nations culture, it was planned to serve as a representation and celebration of the local Musqueam, Squamish and Tsleil-Waututh communities.

Master weaver and textile artist Chief Janice George said the team “look forward to continuing the weaving designs and weaving motifs” in the new plan, and are “excited” at the prospect of brainstorming new concepts.

There are “many ideas that are floating around,” she said.

“We can’t wait to have the architects draw them up and take a look at them. I’m excited to do this. We get to do it again, and that’s great. It might even be better, [than the first design].”

Sparrow said the artists can’t yet divulge what the new designs might be, at least not until a new architect is brought on board. She does, however, hint that the new facade will still be reflective in one form or another.

“The outside of the facade that was in place was to bring a light to the city, and that light is the connection that we have as Indigenous people, that has been so misunderstood and unrepresented,” she said.

“The reflection of the copper and what it means to the northwest coastal people, and then to all people … I keep thinking about the positive light that is going to shine on that building and bring a better relationship between all of us.”

As for what can be expected within the gallery, Kiendl said the initial hope for nine-floors may be scrapped, “as they were really contributing to the cost of the building” but all the facilities planned to fill them will remain, he said.

“We will be ensuring that we retain all the strategic priorities, such as doubling our exhibition space, including the Indigenous design and having an increased number of classrooms and learning spaces,” he said.

Kiendl predicts the redesign will add another 12 months to the overall timeline of the project, which was initially planned for completion in 2028. The goal, he said, is to have the building “open and ready” for the gallery’s centennial anniversary - in 2031.