Lions Gate Bridge

Hand-Drawn Typographic Vector Illustration

Hand-Signed and Numbered Gicleé Archival Printing
Framed in FSC-Certified Coated White Birch

Original Gallery Edition / Limited to 20

CAD 500.00 Unframed / 700.00 Framed

16 x 20 in / 41 x 51 cm

Each ICON sprouts in my photography. An ICON is approximately two years of process — from concept to completion

I carefully draw out a graphic silhouette by hand. After detailed study I choose which adornments to include — taking particular interest in ones that can be missed by a passerby on the street

Next I extrude elements from the building’s “face”. This period in process feels like an extended ballroom dance. There are twists, turns and dips — I go back and forth, and back again. I aim to leave plenty of space for the typography — which I consider the entry point for a viewer — and still include enough of each ICON’s definitive decorative elements. I’m humbled when viewers recall a personal dialogue or history with an ICON. To allow for this, I’m compelled to ensure familiarity

I select a quote after boulevards of research. I learn from this meditative and often lengthy time in process. Ultimately my choice offers an emergent playfulness between the quote, or the quoted, and what each ICON outwardly presents — rather than be a quote about the ICON itself. Sometimes it complements, sometimes it counters. Sometimes in humour. Sometimes in critique

Each letter in each composition is unique — hand manipulated as a self fashioned typography. For colour I created the blue exclusively for the limited edition — suspended among Arctic, Cerulean, and Sapphire. It speaks to the hue we discover anew — each time the clouds lift — in the high latitude low angle light of Vancouver’s shockingly alluring sky. The three hints of clouds are a fun unifying feature across this series. I use their placement to convey the perceived presence of each ICON relative to a viewer from the streetscape

A prominent Vancouver citizen named A.J. Taylor was the visionary of the bridge. He worked against the political and public tides of that time, who opposed his obsession. He never gave up. Twelve years of complicated land deals after he first proposed the span it was built. His baby shoes are encased in one of the concrete lion sculptures guarding the Vancouver side. He built it without government money — but more starkly without any consideration of or financial gain to the Squamish, Musqueam and Tsleil-Waututh Nations — on and over who’s land and coasts this feature soars