Michael Bornman — Cyanotype Prints from Black & White Film Negatives on Watercolour Paper
Inspired by a poem by Matt Pierrot

A constellation of moments unfolds in deep blue — musicians mid-performance, gestures caught in time, light suspended against darkness. In Foreword, Michael Bornman gathers fragments of experience and arranges them into a visual rhythm, where each image feels both complete and part of something larger.

Rendered as cyanotype prints from black and white film negatives, the work carries an archival quality, echoing memory, documentation, and the passage of time. The repetition and variation across the grid suggest a story told in glimpses — a beginning that is less about a single moment, and more about a collection of them.

Created in response to Matt Pierrot’s poem, this piece reflects the idea of a prelude — the scenes, sounds, and connections that come before and shape what follows. It invites the viewer to pause within these fragments and consider the quiet significance of each one.

Michael Bornman’s practice embraces curiosity and instinct, guided by a willingness to say yes and see what unfolds. His approach brings a sense of openness to the work, where process and outcome meet in unexpected and compelling ways.

Garry Brook — Acrylic on Canvas
Inspired by an original song by Russ Rosen

A lone musician walks the tracks, guitar in hand, moving through a landscape that feels both industrial and dreamlike. In Nashville, Garry Brook captures a quiet moment of movement and reflection, where music becomes both companion and compass. Layers of blue haze and structural forms evoke the rhythm of a city shaped by sound, while the solitary figure suggests the deeply personal journey behind every song.

Created in response to Russ Rosen’s original composition, this piece translates music into atmosphere, texture, and story — a visual echo of melody and mood.

Garry Brook, a lifelong artist who returned to painting after a career in the film industry, brings a cinematic quality to his work. Using acrylics for their immediacy and vibrancy, he creates pieces that feel both spontaneous and immersive.

Christina Peressini — Cut and Layered Paper
Inspired by an original song by Megan Gadd

Delicate curves unfold within a perfect circle, drawing the eye inward in a gentle, almost meditative spiral. In Stay a While, Christina Peressini creates a quiet interplay of light and shadow, where subtle shifts in depth invite stillness and attention. The piece feels both structured and fluid, offering a moment of pause in an otherwise moving world.

Created in response to Megan Gadd’s original song, this work becomes a visual translation of lingering — of choosing to remain, to listen, and to be present just a little longer.

Christina’s practice explores the relationship between two and three dimensions, balancing precision with softness, and strength with fragility. Influenced by over two decades as a graphic designer, her work reflects a refined sensitivity to form, composition, and material. Each piece is crafted to be both quiet and captivating.

David Zimmerman — Wood and Clay
Inspired by an original song by CocoLarosa & Fia Tangedal

A simple chair takes center stage, suspended between bold colour and clean form, while a row of small, carefully crafted objects rests below like treasured keepsakes. In Just Kids,

David Zimmerman plays with scale, structure, and storytelling — inviting us into a world where everyday objects hold memory, meaning, and a touch of wonder.

Created in response to the original song by CocoLarosa & Fia Tangedal, this piece captures the spirit of youth — where imagination fills the space between objects, and even the simplest forms can become something more. There’s a sense of curiosity here, of moments collected and quietly displayed, like artifacts from growing up.

David Zimmerman, a film and animation teacher based in North Vancouver, brings a spirit of play into his work. With a background in fine arts and a passion for making, his practice embraces experimentation, material, and the joy of creation itself.

Mobi Esteban — Watercolour and Ink
Inspired by an original song by Aaron James

Hands reach, offer, and receive across a landscape of fluid colour and shifting form. In Back to Me, Mobi Esteban captures the invisible exchanges that shape us — connection, energy, and the quiet pull back toward self. Lines and dotted pathways trace movement between figures, suggesting a rhythm of giving and returning, of losing and finding your way again.

Created in response to Aaron James’ original song, this piece reflects the emotional arc of coming back to yourself through connection with others. It is both intimate and expansive, grounded in the idea that who we are is often revealed in how we reach out — and how we return.

Mobi Esteban, a dancer and instructor at Bez, brings a deep understanding of movement into her visual work. With a lifelong connection to dance, her art carries a sense of flow, gesture, and embodied expression, translating motion into line and colour.

Wendy Russo — Acrylic on Canvas, Mixed Media
Inspired by an original song by Wayne Joyce

A horizon stretches wide beneath a soft, shifting sky, where a single patch of light breaks through the clouds. In Patch of Open Sky, Wendy Russo captures a moment of openness — subtle, expansive, and full of quiet possibility. Layers of texture and tone evoke both landscape and emotion, creating a space that feels at once grounded and infinite.

Created in response to Wayne Joyce’s original song, this piece reflects the feeling of finding clarity within uncertainty — a pause where something brighter begins to emerge.

Wendy Russo, a Coquitlam-based artist known for her acrylic and mixed media work, draws inspiration from a lifelong connection to creativity. Influenced by her artist mother and photographer father, her work carries a sensitivity to both composition and atmosphere. Now painting more fully in retirement, she continues to explore abstraction, texture, and expression as President of the Art Focus Artists’ Association.

C.R. Avery — Mixed Media
Inspired by an original song by David Forster

A figure emerges in fragments — face, form, movement — caught somewhere between sketch and stage. In The Two Step Slide, C.R. Avery blends line, texture, and found elements to create a piece that feels alive with rhythm and character. The inclusion of a real shoe anchors the work in motion, as if the next step has just happened… or is about to.

Created in response to David Forster’s original song, this piece captures the spirit of performance — raw, immediate, and slightly off-center in the best way. It suggests movement not just as dance, but as identity in flux, constantly shifting between who we are and who we become when we step into the light.

C.R. Avery is a multidisciplinary artist — musician, poet, playwright, and painter — known for his relentless creativity and magnetic presence. With a career that spans global touring and collaborations with legendary artists, his work carries the energy of someone who creates instinctively and lives fully inside the art.

Paige Elliott — Metallic Paint on Canvas
Inspired by an original song by Kailee Fortin / Morning Glories

A heart floats at the center, surrounded by flame-like forms and drifting shapes, suspended in a vast field of blue. In Two Lovers in the Big Blue Sea, Paige Elliott creates a striking visual language of connection — where love feels both powerful and vulnerable, contained and expansive all at once.

Rendered in metallic paint, the imagery catches light and shifts with perspective, giving the piece a sense of movement and intensity. The bold contrast between the luminous forms and the deep blue background evokes both the depths of the ocean and the emotional currents that run beneath the surface.

Created in response to the original song by Kailee Fortin and Morning Glories, this work reflects the dual nature of love — grounding and untethering, steady and consuming — like two forces meeting in a space that is both vast and intimate.

Paige Elliott, a mixed media artist with a passion for experimentation, brings curiosity and openness to her practice. As a self-described fan of music, this collaborative project offered a natural intersection of sound and visual expression, allowing her to translate rhythm and feeling into bold, symbolic form.

Shirley Wiebe — Paint on Copper Plate
Inspired by an original song by Andrew Gordon (God Hates a Quitter)

A guitar emerges from a surface of layered textures, torn fragments, and weathered marks — part instrument, part artifact. In Exquisite Pleasure, Shirley Wiebe transforms familiar musical imagery into something more visceral, where sound feels etched, scraped, and embedded into the material itself.

Created on copper plate, the work carries a physical weight and presence, with surfaces that appear aged, distressed, and reworked. Beneath and around the guitar, fragments of musical notation and abstract forms suggest both composition and deconstruction — as if the song has been pulled apart and rebuilt in visual form.

In response to Andrew Gordon’s original piece God Hates a Quitter, this artwork reflects persistence, tension, and the beauty found in pushing through resistance. It holds a kind of rough elegance — where imperfection, effort, and endurance become part of the story.

Shirley Wiebe is a self-taught interdisciplinary artist residing on the unceded territories of the xwməθkwəy̓ əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations in Vancouver, BC. Her art centres on the investigation, experimentation, and reworking of diverse materials across sculpture, installation, drawing, and photography. Through a deliberate and studied approach to combining materials in unfamiliar ways, she seeks to dismantle the past to create the present.

Tim Eccles — Acrylic on Canvas / Mixed Media
Inspired by an original song by Leah Vanvolkinburgh

Forms shift and fold into one another, hovering between abstraction and recognition. In Indecision, Tim Eccles captures a moment of suspension — where movement pauses, direction is unclear, and multiple paths seem to exist at once. The figure appears both grounded and unsettled, as if caught between instinct and choice.

Created in response to Leah Vanvolkinburgh’s original song, this piece reflects the internal landscape of uncertainty — not as something to resolve, but as something to experience. The layered surfaces and gestural marks invite the viewer to move across the canvas, mirroring the restless, searching energy of indecision itself.

With over 40 years as both artist and educator, Tim Eccles brings a depth of practice shaped by exploration across abstraction, figuration, and landscape. His work is driven by gesture and intention, creating surfaces that shift, evolve, and engage the viewer in an active, physical way.

Diane Bowman — Fibre Art
Inspired by an original song by Matt Pierrot / The Decliners

A vivid sky stretches over an industrial horizon, where rising forms and cascading textures blur the line between landscape and memory. In Kapuskasing’s Crush, Diane Bowman uses fibre to build a richly textured world — one that feels both grounded in place and shaped by emotion. The soft yet dense material creates movement across the surface, as if the land itself is shifting, holding stories just beneath it.

Created in response to the original song by Matt Pierrot and The Decliners, this piece reflects the tension between industry and environment, past and present — a portrait of a place that is both shaped and scarred, yet still alive with colour and energy.

Diane Bowman, a multidisciplinary artist known for her work in textiles, jewellery, and mixed media, brings a deep sensitivity to material and form. Her background in fibre and craft is evident in the tactile quality of the piece, where texture becomes a language of its own. Intrigued by the opportunity to “paint a song,” she translates sound into a layered, immersive visual experience.

Jason Esteban — Watercolour and Ink
Inspired by an original song by Ashley Delphine

A musician drifts across a landscape of flowing greens and blues, carried more by rhythm than direction. In I’m Doin’ Nothing Right, Jason Esteban captures the feeling of letting go — where movement replaces perfection, and expression matters more than precision. The loose, expressive line work contrasts with layered washes of colour, creating a sense of freedom and forward motion.

Created in response to Ashley Delphine’s original song, this piece embraces the beauty of imperfection — the moments where things don’t quite land, yet somehow feel exactly right. It suggests a quiet confidence in following your own rhythm, even when it doesn’t follow the rules.

Jason Esteban, an art director and designer with over 25 years of experience, brings a refined yet expressive hand to his work. With a background in drawing and painting and a career spanning major creative projects, his practice balances technical skill with a sense of play and spontaneity.

Thomas Faw — Digital Painting
Inspired by an original song by Matt Kennedy

A surreal landscape unfolds in vivid colour — towering peaks, luminous skies, and a distant planet suspended in motion. In Where the Fences End, Thomas Faw creates a world that feels limitless, where boundaries dissolve and imagination takes over. The bold palette and cosmic elements evoke both wonder and possibility, inviting the viewer beyond the familiar into something vast and unknown.

Created in response to Matt Kennedy’s original song, this piece reflects the moment of crossing — leaving behind constraints, expectations, or edges, and stepping into open space. It’s a visual expression of freedom, curiosity, and the courage to explore what lies beyond.

Thomas Faw, a young graphic and mixed media artist, is drawn to bright colour, science fiction, and the scale of the universe. Working primarily in digital art on the iPad, he builds immersive environments that blend imagination with precision, creating scenes that feel both futuristic and deeply expressive.

John Steil — Acrylic on Canvas / Mixed Media
Inspired by an original song by Alana Louise

A grid of moments unfolds — cocktails, music, memory, and fragments of story stitched together in colour and texture. In I Drink a Few, John Steil creates a visual collage of experience, where each panel feels like a snapshot: a drink shared, a song played, a feeling caught somewhere between celebration and reflection.

The composition moves between the playful and the nostalgic, blending imagery of nightlife, music, and personal connection. References to sound and time weave throughout, suggesting that what begins as a simple moment can ripple outward into something more layered and lasting.

Created in response to Alana Louise’s original song, this piece captures the rhythm of letting go — where laughter, memory, and music overlap, and where meaning is found not in a single moment, but in the accumulation of many.

John Steil, a Vancouver-based visual artist, works across a wide range of mediums including painting, collage, printmaking, and sculpture. His multidisciplinary approach is evident here, where imagery, text, and composition come together to form a dynamic and story-rich surface.