Jaz Halloran (he/him) is an artist and designer with experience in graphic design, publication design and design education. His involvement in the Vancouver artist book community – creating design, marketing, publications, events and exhibitions – has been a perpetual influence on his work. He was an exhibitor and presenter for the Talks & Workshops program at Capture Photography Festival’s Vancouver Photo Book Fair. And, a Communication Design instructor in the Faculty of Design + Dynamic Media at ECUAD since 2017.

Jaz's current projects: Gather, a community coworking space in Gibsons BC, which he manages with marine conservationist and researcher Fiona Beaty; Hackfish magazine, for which he designed the inaugural issue in collaboration with artist Tyler Reed Lepore, and is a recurring contributor.

Large-format colour poster series. Graphic surfaces; form and visual material. The infinite as natural cycles: night, dawn, spring, winter; growth, decay, compost, renewal. The infinite existential fight against fascism, structures of dominance and empire (“the strong do what they can and the weak suffer what they must”). Empathy as resistance/freedom/resilience.

Alanna Irene Edwards is an artist of Mi’gmaq (Listuguj) and settler descent currently occupying unceded Coast Salish territory home to the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɁɬ nations.

Through the use of humor, she explores themes of belonging, authenticity, and the everyday. She’s interested in what makes us laugh, why, and how humor is used as a tool for resistance. Primarily working in installation, much of her work responds to how Indigenous people are looked at and consumed through pop culture, politics, and art.

Alanna has a BA in Political Science and Women’s Studies from SFU, a diploma in Fine Arts from Langara College, and a BFA with distinction from KPU. This fall, she is starting her Master of Museum Education at UBC.

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Sylvana dAngelo is an artist, designer and programer who works with form and function to create cross platform projects. She studies the human condition and endeavours to understand culture through superstition and existence through mythology. Blurring the lines between what is real and what could be real, her work is a visual study of idealism and the underlying interconnected evolution of progress.

Her work seeks to integrate all file formats, embracing print and web platforms as equally important. She has a BA in Applied Design from OCAD University and most notably headed the Vancouver Art Book Fair as Artistic Director.

The unseen is revealed only through initiation, where the cosmos itself becomes a gateway to deeper truths. Selene and Helios stand as night and day, hidden and seen; guiding the seeker through the threshold of understanding. With sacred rites, wine and water became more than sustenance; they became vessels of transformation.

Dissolving the boundaries of perception, something beyond time, beyond self, reaches out and flows eternal through the viewers' very hands.

In her multidisciplinary practice, Oana Clitan uses speculative worldbuilding to explore systems humans create to navigate uncertainty. Her narratives come from imagining responses to crises happening in our present world, which is why she is particularly interested in how digital infrastructures shape these systems.

The construction of these worlds always starts with research, grounded in historical accounts and archives, which are then reinterpreted and reimagined in an alternative future scenario. These explore how people respond, adapt, and reorganize within this new reality. A big inspiration in Oana’s work are science fiction films and literature.

Her work has been exhibited in solo shows at White Cuib and Visual Kontakt gallery in Cluj-Napoca, Romania and group shows at Ars Electronica festival (Linz, Austria), Het Nieuwe Instituut (Rotterdam, NL), Dutch Design Week / Van Abbemuseum (Eindhoven, NL), Rijksmuseum Twenthe (Enschede, NL), V2_ Lab for Unstable Media (Rotterdam, NL), Technische Sammlungen (Dresden, DE), Gallery Ursula Walter (Dresden, DE). Oana was born in Romania and is based in Rotterdam, The Netherlands since 2014.

Rebirth (Băbăluda) is an interpretation of the Romanian tradition of Băbăluda, an ancient spring fertility custom taking place in a village called Buru. Traditionally, young single men from the village dress up in costumes made of tree bark and branches.

In the video, the character of Măriuța (the only female figure within the group) becomes a vessel for questioning the relevance of myth and tradition in a contemporary world shaped by technological acceleration and environmental collapse, where rituals once performed to navigate the unknown forces of the natural world now seem unnecessary. Suspended in a digital void, caught between memory and the present, she moves beyond the limits of her prescribed role. In performing a ritual of purification, similar to the Romanian descântec, Măriuța initiates a new cycle of life, rebalancing the relation between humans and nature.

This project was developed during the residency 'Spring in the Romanian Village: Băbăluda' in Buru, Romania, a proiect produced by Asociația Refugiu de Creație, și co-financed by National Cultural Fund Administration and the Cluj County Council.

Jamiyla Lowe (she/her) is a Canadian illustrative artist with a concentration on drawing, printmaking and animation. She has exhibited her work in galleries and at small press fairs in Canada, the US and Europe. She currently lives and works in Toronto.

She has published books of her work including Good Evening, As You Wish and Heartache Inn. The themes in her work focus on discomfort, precarity and the gaps between fantasy and reality. She has been an instructor in OCADU’s illustration department since 2018.