The Amelia Douglas Gallery is a non-profit organization run by members of the Douglas College community. The mandate of the Art Exhibit Committee is to feature new and established B.C. artists and to enhance the educational offerings of the College.
The gallery is named after Lady Amelia Douglas, the Cree wife of Sir James Douglas, known for her courage in the face of danger, and her skill and compassion as a nurse and midwife. Learn more about the life of Lady Amelia Douglas.
If you are an artist interested in learning more about the submission process, please see Submission guidelines.
We welcome you to explore the current and upcoming exhibits below.
Current and Upcoming Exhibitions
Exhibition Statement:
Xixi Yang's body of work explores a quiet balance between control and release. Through layered gestures, diffused edges, and fluid movement, each painting evolves as a space where intention meets spontaneity.
Natural hues—blues, greens, earth tones—are pushed into unfamiliar relationships, often interrupted by unexpected bursts of color. These combinations are not meant to resolve, but to remain open, inviting curiosity rather than conclusion. The surfaces shift between density and lightness, suggesting moments that feel both grounded and transient.
Across the works, there is no fixed narrative. Instead, they offer an atmosphere—something closer to a feeling than a statement. Drips, washes, and accumulations echo organic processes: growth, erosion, weather, and time. What emerges is a sense of quiet movement, as if each piece is still unfolding.
At its core, the exhibition is about freedom—freedom in mark-making, in color, and in interpretation. Viewers are invited to move through the work without expectation, to pause, to wander, and to find their own connections within these shifting fields.
Artist Bio:
Xixi Yang is a painter based in Vancouver. Classically trained, she studied at the Academy of Art University and developed her foundation through traditional approaches to drawing and oil painting. Over the past decade, her practice has evolved from still life and graphite studies into a more intuitive, expressionist language.
Having lived and worked across Florence, Turin, New York, and Vancouver, Yang’s work reflects a continuous dialogue between structure and freedom. Her process is physical and direct—often using her hands, palms, and knuckles to manipulate oil paint—allowing color, texture, and movement to emerge through interaction rather than strict control.
Her paintings explore the expressive potential of color, combining natural hues with unexpected contrasts to create open, atmospheric spaces. Rather than presenting fixed narratives, her work invites viewers into a state of curiosity, where meaning remains fluid and personal.
Exhibition Statement:
This multidisciplinary exhibition by Khim Mata Hipol examines the invisible labour of Filipino workers in Canada's cleaning industry. Through weaving, sculpture, and photography, Hipol reclaims everyday cleaning tools as symbols of resilience and cultural presence.
The exhibition features handwoven tapestries that replicate the dimensions of punas (an ordinary Filipino rag for cleaning surfaces) and pigad (a handmade floor mat used for scrubbing). Woven using traditional loom techniques, these works transform functional objects into artifacts of labour and identity. The four large-scale hanging weavings — Bughaw, Pula, Dilaw, and Puti — draw from the colours of the Philippine flag, waving boldly as a statement of recognition and reclamation within the cleaning industry.
Alongside the woven works, Hipol presents monumental self-portraits in photography. Buy-buy and Cart #1 depict the artist holding a traditional Filipino broom, confronting the viewer with cleaning labour that often goes unseen. These images assert dignity, resilience, and the lived experiences of Filipino migrants who have shaped Canadian society through their work.
Hipol highlights the intersection of labour, identity, and visibility by transforming these objects and images into artistic statements. Afterhours: Who Is Cleaning It? is a declaration of presence — an invitation to reconsider whose hands maintain our spaces and recognize the value of those who remain unseen.
About the Artist:
Filipino-born Khim Mata Hipol (b. 1999, Bauang, La Union, PH) is an emerging interdisciplinary artist based on the unceded territories of the Squamish, Tsleil-Waututh, and Musqueam Nations. Working primarily through photography, he examines how identity is shaped and manipulated through commercialization, tracing human presence within landscapes to question nationalism, belonging, and the colonial histories embedded in everyday environments. His work often focuses on subtle gestures — objects, symbols, and interventions — that reveal how people inscribe meaning onto place.
Hipol holds a Bachelor of Fine Arts with a major in Photography and a minor in Art and Text (2023), as well as a Certificate of Photography (2019), from Emily Carr University of Art + Design. He is a recipient of the BC Arts Council Individual Arts Award (2025), the Audain Travel Award (2022), and the Chick Rice Award for Excellence in Photography (2023). His work has been exhibited internationally at institutions including the Trout Museum of Art (Wisconsin), Griffin Museum of Photography (Massachusetts), Filter Photo (Chicago), and Exposure Photography Festival (Calgary). His works are held in collections in Canada, the United States, Germany, and the Philippines.
Khim Mata Hipol lives and works in North Vancouver.