Walking into Griffin Art Projects in North Vancouver, I wasn’t sure what to expect. Comedy isn’t usually the first thing that comes to mind when I think about contemporary Canadian art, yet here was an exhibition that promised to challenge that assumption.
Through cartoons, comics and satire, Seriously? Comedy and Satire in Canadian Art 1970s-Now, curated by Melissa E. Feldman, confronts mainstream culture and politics, using humour to make critical ideas more accessible and engaging.
Before I even stepped fully into the gallery, I was struck by how welcoming the environment was. As I waited for my tour to begin, I was offered chocolate — a small but telling gesture that immediately made me feel at home. I struck up a conversation with another visitor, realizing how rare it is to find a gallery that encourages casual conversation rather than hushed reverence.
Lisa Baldissera, the gallery’s director, spoke to me about Griffin Art Projects with clear passion, describing its mission to be an open, accessible space for contemporary art. She emphasized that the gallery is free and open to the public, inviting anyone to walk in and experience art without barriers. This openness felt fitting for an exhibition that doesn’t take itself too seriously — one that instead invites visitors to smile, chuckle and, at times, stop and wonder.
Featuring works by 20 artists from across Canada, Seriously? bridges regional and stylistic divides. Artists like Judy Chartrand, Maxwell Bates and Anna Banana use sharp wit to critique social norms and identity politics, while others, such as Shuvinai Ashoona, Victor Cicansky and Maud Lewis, celebrate everyday life with warmth and charm. Each work felt alive with personality, wit and sometimes even a bite. The exhibit isn’t just about comedy — it’s about how humour can be a powerful tool for survival, critique and understanding the absurdities of the world we live in.
My visit to Griffin Art Projects was more than just a viewing experience — the gallery itself felt like a space that encouraged dialogue, curiosity and a sense of belonging. During my tour with Baldissera, she introduced me to several people who were familiar faces in the gallery. It was evident that Griffin Art Projects fosters a sense of community, a place where art is not just viewed but discussed and lived. The warmth of the space extended beyond the art on the walls — it was in the people who filled the gallery, in the ease of conversation and in Baldissera’s enthusiasm as she spoke about the exhibition.
I also had the chance to speak with artist Gary Pearson, who contributed three pieces to the exhibition: “The Mystic Fountain,” Rise and Fall and “Man Standing at the Edge of the World.” Pearson’s artistic journey has been shaped by a lifelong passion for creative expression, beginning in childhood and evolving through decades of academic and professional experience.
As a former professor at UBC Okanagan, he dedicated years to teaching drawing, painting and studio theory — courses that not only honed his own philosophy of art but also influenced generations of students. His practice is deeply rooted in satire and social commentary, drawing inspiration from German expressionism and a broad spectrum of global influences. Pearson’s work often reflects the complexities of the human condition, exploring themes of grief, joy and societal structures through a distinct visual style that blends caricature with psychological depth.
Seriously? presents three of Pearson’s works that encapsulate his critical yet introspective approach. Rise and Fall, a 20-part drawing series inspired by Bertolt Brecht and Kurt Weill’s opera Rise and Fall of the City of Mahagonny, dissects key moments from the opera, offering a visual narrative of its socio-political themes.
“Man Standing at the Edge of the World,” an oil painting created during the early days of the COVID-19 pandemic, captures the uncertainty and isolation experienced by people around the globe.
Some pieces in the exhibition had me laughing out loud, their absurdity cutting through the usual seriousness of contemporary art. Others, like Chartrand’s social critiques, made me pause and reflect on deeper issues embedded within the humour. The exhibition’s mix of cartoons, pop culture references and biting political commentary made it feel both familiar and fresh — like a conversation with an old friend who knows exactly how to make you laugh and think at the same time.
As I walked through the gallery, I couldn’t help but appreciate how art can communicate difficult subjects through comedy, making them more approachable and digestible. I found myself circling back to certain pieces, drawn in by their ability to balance humour with deeper meaning. Satire, after all, thrives on contradiction — it’s both light and heavy, funny and unsettling. The exhibition blurred these lines masterfully.
In a world that often takes itself too seriously, Seriously? is a breath of fresh air. It’s an exhibition that surprises, engages and makes you chuckle — all while challenging the way we think about contemporary art. If you’re looking for an experience that is as thought-provoking as it is entertaining, it’s well worth a visit.
Seriously? runs at Griffin Art Projects until May 18, 2025. More information is available here.
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