• VMC Budget

    Download Budget here: ve023-budget_oxygenartcentre

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  • VMC Production Schedule

    Download schedule here: ve023-project_schedule_oxgyenarcentre

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  • VMC letter of support from Touchstones

    Download letter of support here: vmcoxygen                   Transcript of letter: September 23, 2016   Virtual Museums Canada Virtual Exhibits Investment Program   Re: Letter of Support for Oxygen Art Centre’s application for Virtual Exhibit – Memory Palaces   To Whom It May Concern:   The Nelson and District Museum, Archives, Art Gallery and Historical Society is a non-profit organization who have the expertise in the area of digitization, having completed several VMC projects in the past. The Society and Oxygen Art Centre

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  • Cabaret – Road To Salmo

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  • High Muck a Muck: Playing Chinese Wins New Media Writing Prize

    The collaborative project High Muck a Muck: Playing Chinese, developed through Oxygen’s Art Centre’s Artist in Residence program, has won the UK based, New Media Writing Prize. High Muck a Muck: Playing Chinese is an interactive website and installation exploring Chinese immigration and settlement in British Columbia. The project was created by a team of Nelson and Vancouver artists including Nicola Harwood, former director of Oxygen Art Centre, Fred Wah, former Poet Laureate of Canada, artist / performers Bessie Wapp and Thomas Loh and composer Jin Zhang. Significant artistic contributions

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  • Residency & Exhibition: Deborah Loxam Kohl

    The Sound of … (silence) December 1, 2010 to January 30, 2011 Designer/Maker, Deborah Loxam-Kohl, has developed a novel technology for felting wool into three-dimensional objects. The technology includes specialized manufacturing equipment as well as a proven process and a wide range of test results. The process is automated to a large extent and so can be adapted for large-scale manufacturing. The technology is adaptable, straightforward and simple to implement and operate. A fully formed felt object comes directly from the process, with no further processing required to produce a

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  • Exhibition: Brian Cullen, Sabrina Oveson, Maria Sandner & Amber Santos

    States of Unrest: Emerging Artist Group Show November 26 – December 18, 2010 Curated by Anita Levesque Brian Cullen – CAMOUFLAGE: Artist Statement and Project Description          […] architecture, fashion — yes, even the weather — are, in the interior of the  collective, what the sensoria of the organs, the feeling of sickness and health, are inside the individual.                                                 — Walter Benjamin, The Arcades Project Materials and Form:  4 series of pattern representations — paintings — using wooden strips painted with industrial house pigments, and stacked in frames leaned

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  • Exhibition: Arin Fay

      Between the Lines May 28 to  June 26, 2010 Artist Talk on Friday, June 18 at 7:30 pm Portraits by Fire Between the Lines: A Cross-Section of the Canadian Canon consists of seventeen salvaged, door skin panels: fifteen black and white (29 ½ “ x 17”) and two coloured panels (48” x 48”). The portraits are done with large and small-scale pyrography, or fire drawing. One could also say they burn with wise passion. Arin Fay’s cross-section includes literary stars such as Atwood, Gallant, Munro, and Shields as well

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  • Cabaret: Bedtime Stories For Bad People

                    Imagine yourself surrounded by red velvet, submerged in ambient muzak. A handsome man holds a razor to your throat. Are you getting a haircut or are you at the Oxygen Art Centre’s Cabaret, “Bedtime Stories for Bad People? (Oct 30/31, 2009)”  Performing is scary business. Various characters haunt the psyches of our local comedians. “Stephen the Art Star” (Lucas Myers) and “Dermitt MacDonald, the Sex with Shoes On Salesman” (Nicola Harwood) will be among the alter-egos possessing our hapless performers at the

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  • Residency / Exhibition: Anita Levesque & Bradley Smith

      Heartlab: Noticed Growth Residency August 1 to 30, 2009 Exhibition September 1-30, 2009 This work represents a new chapter in our ongoing exploration of the relationship between text and image. We like to think of our work as installation narratives, with ourselves, the artists, as main characters. As our setting changes, so does our focus. Resonance has been created in response and in relation to the surrounding simplicity of the foothills and prairies. This simplicity has inspired us to playfully represent the essence of words as sound, and image

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