Fine Arts an important partner in new RBCM climate change gallery

by | Sep 26, 2026 | climate, indigenous, Research, Undergraduate, Visual Arts, Writing

UVic’s Climate Disaster Project and a team of Fine Arts faculty and students are proud to have significantly contributed to the Royal BC Museum’s reimagined natural history gallery, Climate Change: Everything is Connected, which opened on September 11.

Originally created in 2005, the gallery has now been redesigned and retitled to better tell the story of how climate change is reshaping British Columbia. Now on view in the Everything is Connected gallery are a series of short documentaries created by Climate Disaster Project students, as well as an interactive display by students in our Digital Interactive Media & the Arts (DIMA) program plus a presentation about the Indigenous-led Totem 2.0 project.

Through interactive displays, archival photographs, scientific instruments and specimens, visitors can discover how human activities are changing Earth’s climate and what those changes mean for BC’s climate, people, wildlife and landscapes.

“The evidence for human-caused climate change is clear,” says Dr. Victoria Arbour, RBCM’s Manager of Research & Collections and Curator of Palaeontology. “In this new exhibit, we’re not just telling the story of what might happen, but what is and has been happening, and how the people of BC will need to adapt.”

Activating climate research

Fine Arts participation in the RBCM project was led by Sean Holman, founder of the Climate Disaster Project and our Wayne Crookes Professor of Environmental & Climate Journalism with the Department of Writing.

“The climate conversation in this province has included nearly everyone except the people it happened to,” said Holman at the opening. “That needs to change. Our students worked with the Royal BC Museum and five climate disaster survivors across BC to share their experiences and wisdom as part of the museum’s refreshed climate gallery.”

Holman worked with fellow Writing and DIMA professor David Leach plus Visual Arts/AHVS professor and UVic Impact Chair Carey Newman to develop and place content in the new gallery, offering their teams of students a valuable opportunity to see their video and visual presentations included in such a prestigious institution.

“We know that museums are among the most trusted institutions in our society — institutions that play a crucial role in telling and sharing our stories,” noted UVic Vice President Research Alex D’Arcy at the opening. “That’s why I’d like to thank the Royal BC Museum for inviting the University of Victoria to collaborate on this important reimagining of the climate gallery.”

Sean Holman at the exhibit opening

The Royal BC Museum is just one of the partner institutions participating in Holman’s six-year, $2.5-million SSHRC Partnership Grant, “From Catastrophe to Community: A People’s History of Climate Change”. By including museums and galleries across Canada, Holman’s research will ensure the stories of climate-impacted communities aren’t forgotten.

From left: the Climate Theatre, Carey Newman with his Totem 2.0 display, the diatoms in 3D 

What you’ll find at the RBCM

Everything is Connected offers a fresh look at our changing climate, exploring how human choices — including burning fossil fuels and removing forests — have contributed to climate change, and how communities have worked together to respond.

The gallery brings personal experiences of climate change into the museum by having a dedicated Climate Theatre, created in partnership with the Climate Disaster Project. Here, visitors can hear stories shared by five climate disaster survivors across BC who experienced wildfire, extreme heat and flooding in 2021: Jane Armstrong (New Westminster), Chris Harley (Vancouver) and Arzeena Hamir (Comox Valley) all speak about the Western North America heat wave, while Edith Loring-Kuhanga (Lytton) reflects on the devastating Lytton Creek fire and Graham Zillwood (Hope) narrates his experience with the dramatic Southern BC floods.

“Too often the stories we have told about climate change have been stories about the future and about our environment,” says Holman. “And those stories are important, they’re vital . . . but it’s also meant the people who have been impacted by climate change in the present, in our neighbourhoods, in our communities, in our lives, have not been part of the climate conversation.”

From left: Jane Armstrong, Chris Harley, Edith Loring-Kuhanga, Graham Zillwood & Arzeena Hamir each lived through
a BC climate disaster in 2021 & each worked with UVic students to record their account. Their micro-documentaries
now appear in the Royal BC Museum’s refreshed climate gallery. (Photos by Chad Hipolito, Jimmy Jeong & Troy Moth.)

Another feature of the gallery is Carey Newman’s Totem 2.0 project, a ground-breaking technology bridging traditional Indigenous art practices with modern engineering solutions, enabling totem pole carving using sustainable second-growth cedar. The innovative apparatus, originally imagined by Newman and engineered by the team at Camosun Innovates, is captured in video and a large-scale photo of the final project. Titled “Ḵ̓a̱mtila – To write a new song”, this sustainable option to traditional carving is constructed from 14 beams carved on a remarkable spinning harness and lit from within by LED lights: you can see it outside Pacific Opera Victoria’s Baumann Centre here in Victoria. 

Also on view is “Tiny Glass Heroes”, an immersive three-dimensional spatial reality display about diatoms, created by Leach and his team of Visual Arts, Computer Science and Science students — including Nick Patterson, Nathan Inbar, Edith Skeard and Annie McLure — using custom equipment provided by SONY Canada, installed by RBCM staff, and supported by UVic Research & Innovation. Microscopic algae found in the world’s oceans, waterways and soils, diatoms produce upwards of a quarter of Earth’s oxygen and are a good example of how climate change also impacts invisible systems. 

From left: Nathan Inbar, Nick Patterson & David Leach with Writing chair Lee Henderson 

Partners in action

As one of the oldest continually operating museums in Canada, the Royal BC Museum remains a vibrant centre of learning and research which strives to broaden our understanding of the province through collections, exhibitions, outreach and community engagement. By combining the research and creative activity of UVic’s Fine Arts community with the RBCM’s resources and legacy, this new opportunity allows us to tell the continuing story of climate change in new and dynamic ways.

“This is what partnership looks like: this is the power of bringing the academy together with public education and the memorialization and celebration of life . . . even when, especially when, the impact of our world threatens all that we hold dear,” says UVic’s D’Arcy. “The work that Sean Holman, David Leach and Carey Newman and their teams have done demonstrate the power that happens when students and scholars in Fine Arts partner with people who have lived and learned experience with the impact of climate change to share their stories.”

 

UVic’s Alex D’Arcy at the opening

While there is more to come thanks to his new SSHRC Partnership Grant, Crookes Professor Sean Holman is very pleased with the end result of this current project.

“I am incredibly grateful to the Royal BC Museum for making the experiences and knowledge of those people part of this climate conversation that we are having here today, and part of the ongoing climate conversation that will be taking place in the gallery.”

Climate Change: Everything is Connected is located in the Natural History gallery on the third floor of the Royal BC Museum and is included with admission (top & bottom photos by Shane Lighter)

Writing students mark fatal heat dome anniversary

by | Jun 29, 2026 | climate, donor, Faculty, health, Undergraduate, Writing

To mark the fifth anniversary of BC’s fatal heat dome in 2021, a group of UVic Writing students trained to take climate-survivor testimonials are now seeing their work run in the online news outlet The Tyee in a new five-part series with created in partnership with the Climate Disaster Project. 
“Some of what they share can be difficult to read. But the survivors want you to know what happened to them for a reason,” says CDP founder and Writing professor Sean Holman. “So we can be closer together. So we can feel less alone. So you know what to do when one of the worst days of your life happens, without warning.”

The human cost of BC’s heat dome was catastrophic: over 600 people died between June 25 and July 1 2021, making it the deadliest weather disaster in Canadian history. Over 100 all-time heat records were shattered as temperatures across the province soared 20° above typical summertime averages in a brutal reminder of how warm our world is becoming.

The Tyee series offers the stories of five heat-dome survivors, as told in their own words:

  • a Surrey mother whose newborn was struggling, and so was her ailing cat
  • a Vancouver homeowner who had to find a new home when her condo turned into a greenhouse
  • a Lower Mainland firefighter who answered emergency calls as extreme heat buckled the province’s health-care system
  • a retired school principal who was forced to evacuate when that heat turned to flame in Lytton
  • and a Kamloops councillor who could do little but watch as fire scorched one of the city’s outer neighbourhoods.
“These stories aren’t just an account of the harm caused by an environment we have harmed and are still harming,” says Holman, explaining how the CDP’s climate-survivor testimonies differ from traditional news stories. “They are early warning systems and emergency preparedness plans. Because the survivors of past climate disasters carry with them knowledge and wisdom needed to help us confront the extreme events that have now become seasonal. Reading their testimonies now isn’t just about memorialization. It’s about preparation. An opportunity to change what will happen today and tomorrow.”
The Climate Disaster Project was established in 2022 by Sean Holman — UVic’s donor-funded Wayne Crookes Professor of Environmental & Climate Journalism — and has since grown into an award-winning international teaching newsroom with partners in multiple countries around the world, tackling projects ranging from journalism and documentaries to a theatrical play, museum exhibit and a pending literary anthology. It also gives our students the chance to see their work appear in professional media like The Guardian UK & The Tyee, among many others.

Eeman Masood’s digital tree grows in New York City

by | Jun 1, 2026 | Alumni, Award, climate, donor, Graduate, Visual Arts

New York City’s “Midnight Moment” is the world’s largest and longest-running digital public art program. Since 2012, over 100 contemporary artists have presented their work to millions of viewers on one of the most iconic public canvases: the electronic billboards of Times Square. There, for three minutes nightly and 364 nights a year (except for when the ball drops on New Year’s Eve), the ads are dimmed on 95+ screens from 41st to 49th Streets, and the art takes over.

For the month of February, a hand-painted animation of a banyan tree by Eeman Masood (Visual Arts MFA 2025) titled There is a voice that doesn’t use words, Listen — which was her MFA thesis project — transformed Times Square from one of the world’s most technological and chaotic boulevards into a poetic, immersive experience, reflecting on the silent languages of nature and the endurance of the natural world.

Born in Lahore, Pakistan, Masood earned her BFA from Lahore’s National College of Arts (NCA) in 2021 with a major in miniature painting before coming to UVic to pursue her graduate work on a fully funded scholarship. While at UVic, she was the recipient of several notable awards, including the Elizabeth Greenshields Foundation Grant, the Jeffrey Rubinoff Graduate Scholarship, the Jessie Allan Forsyth Scholarship and the Canwest Global Scholarship in Video Arts.

Masood’s work explores the emotional and spiritual connections between nature, solitude and ecological awareness. Combining traditional techniques with contemporary mediums, she expands classical miniature painting through intricate works and hand-painted animations. We caught up with her recently for this Q&A.

What does it mean to you to have your work shown on such an enormous canvas as Times Square? Did people literally stop and “listen,” as the title encourages?

“It was a magical moment, truly, and I feel very grateful to have had this opportunity,” says Masood. “My work features the banyan tree, under which many gatherings and discussions used to take place. Bringing that tree to the busiest street in the world and projecting it above people kind of recreated the same sense of gathering—but in a very different way. I would go there every midnight to quietly stand among the audience, and it was so moving to see people stop, sometimes filming at first, but then pausing and just absorbing the work fully.”

MFA grad Eeman Masood stands in front of her hand-painted animation of a banyan tree,
spreading nature & calm across chaotic Times Square (all photos: Michael Hull/Times Square Arts)

Your thesis project specifically focused on the banyan tree: why choose that as your subject matter? And why did you choose to create a hand-painted animation?

“The banyan tree is one of South Asia’s most prestigious trees, often called the mother tree or the walking tree because it keeps expanding,” she says. “It’s also endangered, and I wanted to raise awareness about that. But the work goes deeper, reflecting on how we are part of nature and connected to the universe. The title of the work is a quote by the Persian mystic Sufi poet Maulana Rumi, asking us to reflect within. Being trained in traditional miniature painting, I wanted to translate the detailed, meditative connection between breath and brush into hand-painted animation, expanding the world of my paintings naturally into motion: in the video, the leaves move slowly and naturally align with the breath.”

You received a number of awards and funding during your graduate studies: what did that amount of donor support mean to you, and what did it enable you to do?

“I am deeply grateful to all the donors who supported me during my MFA studies,” she says. “As an international student, it’s very challenging to manage living expenses while producing work and investing in materials: these awards gave me financial relief, allowing me to focus fully on my creative practice without constant stress. They also enabled me to buy materials I needed and take risks in my work. Beyond the practical support, it felt encouraging to know people believed in what I was doing. I honestly couldn’t have completed my projects without their support.”

How did your time in the Visual Arts department impact your creative development? How much of an influence was your grad advisor, Kelly Richardson?

“My time at UVic will always be one of my most memorable periods. Moving to Canada, it became my first home, and I felt supported by faculty, staff and students. Facilities like private studios, editing rooms and scanners allowed me to experiment and work freely, which was crucial for my creative growth. Professor Richardson has been such a positive influence: when I arrived at UVic, I hadn’t imagined moving from painting into animation, and much of that transition happened because of her encouragement and support. She always pushed me to do better, and her own work was a constant inspiration. We connected on many ideas, and I’ve learned a lot from her practice and journey as an artist. She helped me believe in myself and my work, especially during difficult moments, and I’m deeply grateful for her support.”

What’s next for you?

“I recently completed an artist residency at the Banff Centre, where I began a new animation project that I plan to continue developing. Alongside that, I’m preparing a new series of paintings. Moving forward, I want to explore how animation and painting can continue to inform each other, expanding the worlds I’ve been building in my work. It’s an exciting time to experiment, take risks and grow my practice—I’m looking forward to seeing how these new projects develop over the coming months and years!”

This story appears in the UVic Torch alumni magazine

Research funding focuses on Indigenous artistic responses to plastic pollution

by | May 15, 2026 | Award, climate, Faculty, indigenous, Visual Arts

While there is a growing awareness of the global impact of plastic pollution, the most ubiquitous visuals we have of the harms of litter and microplastics alike may be of tropical sea turtles, polluted beaches, and damaged coral reefs. Few consider the critical impact it has on Northern regions, where microplastics contaminate oceans and sea ice, the landscape, and even the food chain, posing a threat to community health and biodiversity.

Now, $475,000 in new funding from the Social Sciences & Humanities Research Council of Canada (SSHRC) offers Department of Visual Arts professor Heather Igloliorte the opportunity to create a series of new art-science collaborations while also increasing national awareness around the issue of plastic pollution in rural, remote, Subarctic and Arctic regions.

Titled “As It Melts: Northern Indigenous Artistic Perspectives on Plastics Pollution”, this two-year project will be led by Igloliorte — who is also UVic’s Canada Excellence Research Chair in Decolonial & Transformational Indigenous Art Practices — and Kirsty Robertson (Western University’s Canada Research Chair in Museums, Art & Sustainability) in partnership with the Inuit Art Foundation.

Announced on May 11, As It Melts will bring together a diverse group — including Indigenous artists, Indigenous and settler scientists, plastics and arts-based researchers, students, museum professionals, community members, Elders and knowledge keepers — to address the presence of plastic pollution in and around Indigenous communities, through the lens of contemporary art research-creation.

For this ambitious project, Indigenous artists will work with and learn from plastics pollution researchers and scientific labs across Canada, participate in knowledge exchange workshops, and ultimately create major research-based artworks, culminating in a nationally significant public exhibition and symposium aligning with the United Nations 2030 Agenda for Sustainable Development.

“This project is truly a testament to the strength of our collaboration, and the significance and urgency of the work before us,” says Igloliorte. “By harnessing the power of art to investigate plastics pollution — while also informing communities and the broader public of its harms — As It Melts will help people imagine cleaner, safer and more sustainable futures for our lands and waters.”

Fine Arts also recently announced $250,000 in funding from SSHRC’s New Frontiers in Research Fund and the Tri-Agency Institutional Programs Secretariat (TIPS) for Visual Arts professor Carey Newman’s two-year project focused on “Robotic Carving to Augment and Preserve Intergenerational Kwakwaka’wakw Knowledge Transfer.” Both these projects engage innovative new creative technologies to address concerns around the environment and the ongoing climate crisis while also forefronting Indigenous knowledge and practices.

Heather Igloliorte (photo: Julie Grenier)

“These grant successes by Carey and Heather highlight the remarkable trajectory that Fine Arts is on,” says Kirk McNally, Associate Dean Creative Activity, Research & Administration for UVic’s Faculty of Fine Arts. “They build on our reputation for excellence in creative activity and research that explores the potential of creative technologies, and our deep engagement with the environment and the climate crisis. They also highlight UVic’s commitment to Indigenous-led scholarship and creating an environment where Indigenous ways of knowing and being can thrive.”

By engaging with community-monitoring of plastics pollution and on-the-land research in Northern, remote and rural Indigenous communities, As It Melts intends to dramatically shift both awareness of and response to the impacts of plastic pollution on wildlife, the environment and humans in Canada. This project will effectively respond to Phase 2 of the Canada-Wide Action Plan on Zero Plastic Waste, while also establishing decolonial methods for further research.

As It Melts will be guided by an advisory committee made up of Indigenous community leaders and arts professionals. It will also be supported by innovative partnerships with organizations and labs across the country — including UVic’s Taqsiqtuut Indigenous Research-Creation Lab and Western University’s Centre for Sustainable Curating — in parallel to Indigenous knowledge and artistic and cultural approaches, linked with lived and embodied experience of the impacts of plastic pollution.

Research funding focuses on developing innovative Indigenous robotic technologies

by | May 13, 2026 | Art History & Visual Studies, Award, climate, Faculty, indigenous, Visual Arts

Carey Newman working on his Totem 2.0 system developed with Camosun Innovates  (photo: Camosun College)

Department of Visual Arts and Art History & Visual Studies professor Carey Newman was announced on May 13 as the recipient of new funding from the Social Sciences & Humanities Research Council of Canada (SSHRC) to develop a new robotic carving system to better preserve traditional Indigenous carving techniques. By exploring the interconnection between Indigenous knowledge, technology and art, this innovative technology will ethically embed robotics into education and creative practice while offering new ways to access, interpret, preserve and teach traditional knowledge.

Newman, also UVic’s inaugural Impact Chair in Indigenous Art Practices, will be receiving $250,000 over two years from SSHRC’s New Frontiers in Research Fund and the Tri-agency Institutional Programs Secretariat (TIPS) for his project “Robotic Carving to Augment and Preserve Intergenerational Kwakwaka’wakw Knowledge Transfer.”

Carving is core to Pacific Northwest Indigenous Peoples’ social, legal, and cultural orders.  From the ornamental to the utilitarian, miniscule to monumental, carvings — be they drums, masks and rattles or canoes, poles and structural support for big houses — integrate into every aspect of life.

Now, this interdisciplinary project will see Newman join with UVic researchers from Mechanical Engineering & Computer Science (including professor Keivan Ahmadi) with off-campus partners including Camosun College’s Camosun Innovates and the Royal BC Museum to design and build an adaptive robotic system which will operate in collaboration with a master carver to augment and preserve the intergenerational knowledge transfer of carving practices in Northwest Coast Indigenous art.

“Traditionally, carving is passed down through close, hands-on mentorship, often within families or communities, but current efforts face increasing disruption due to climate change, cultural shifts, land/language loss, legacies of colonialism and urbanization,” says Newman. “This project offers new ways to enhance generational continuity and help young people engage and learn using novel digital collaboration technologies designed to protect and strengthen carving knowledge.”

The final version of the pole Carey Newman is carving above, now placed outside Pacific Opera Victoria’s Baumann Centre in Victoria  

Rather than automate artistic methods, Newman’s project will instead complement a carver’s tools by communicating culturally rooted practices over time. This work will provide a careful, respectful approach that upholds the integrity and sovereignty of Indigenous knowledge systems while utilizing advanced computational models and processes. Creating a robotic carving system will allow new technologies to promote, respect and strengthen cultural resilience, as well as explore the reciprocal benefits of interdisciplinary collaboration in areas like robotic surgery and advanced manufacturing.

 “This award is especially meaningful for us to celebrate as it marks Fine Arts’ first successful NFRF and charts an exciting new path for collaboration and partnership across campus, and in our community,” says Kirk McNally, the Associate Dean Creative Activity, Research & Administration for Fine Arts.

The impact of this project is enhanced by alignment with Newman’s other federally funded cultural, environmental and political art project, The Seedling, which involves planting a Western Red Cedar then designing a digital 3D totem which will be carved in 600 years when the tree is mature. The Seedlingrethinks colonial concepts of economy, law and politics, while radically expanding planning and decision-making timescales.

Newman’s robotic system will be capable of real-time adaptation to carving variables like unpredictable cedar microstructures while combining experiential knowledge and technical innovation. Integrating deeply embodied, culturally grounded artistic knowledge with emerging robotic technologies involves high risks (both technical and conceptual) but offers high rewards (including generational knowledge transfer and commercial application and development).

Paul Walde on how art can shape our relationship with the environment

by | Mar 18, 2026 | Art History & Visual Studies, climate, Events, Faculty, Visual Arts

Weather is one of the forces that shape our daily lives, yet we rarely think of it in terms of art. But for award-winning intermedia artist, composer, curator and University of Victoria Department of Visual Arts professor Paul Walde, weather is so much more than just the title of his latest exhibit, Paul Walde: Weather Conditions. 

Walde’s body of work has long explored unexpected interconnections between landscape, identity and technology, most notably by his 2013 site-specific sound performance Requiem for a Glacier, which featured a 55-piece choir and orchestra filmed live on the Farnham Glacier in BC’s Purcell Mountains. Running until April 11 at UVic’s downtown Legacy Gallery, Weather Conditions — curated by Carolyn Butler Palmer, the Williams Legacy Chair in the Department of Art History and Visual Studies — offers a double exhibit of site-specific video installations, both reflecting weather and art history in unique ways. Paul offers his insights with this Expert Q&A. 

Q. Weather is one aspect of the human experience that everyone shares: we predict it, discuss it, try to avoid it and arrange our lives around it. Why bring it into a gallery space?

A. Another aspect of the human experience is that we’re altering our climate through our actions, and this is altering the weather. Extreme weather events are on the rise and there is new concern that, if we continue on the path we’re on, the low-lying clouds that do a lot to reflect sunlight and keep the Earth cool could disappear, leaving only the higher altitude clouds which will accelerate climate change exponentially by allowing more sunlight in and trapping that heat. As an artist, I’m interested in how cultural attitudes shape our relationship with the environment. 

Q. Your creative practice has been engaged with environmental issues for the past 30 years. How can art bring awareness to issues like climate change in ways that science or politics can’t?

A. The great thing about art is that it can present information to people in experiential ways, including emotional and spiritual dimensions. This is a very different experience than being told something. Science and politics tend to tell people things but, as a professor, I’ve found folks really don’t like to be told anything. It’s more effective to create experiences that allow people to draw their own conclusions. This way, the information is internalized and becomes a part of their own thought processes, so the level of engagement and uptake is greater. The duration of my work is also important in this, as these longer works provide opportunities for people to think for themselves—which is in direct opposition to the “attention economy” and how content is consumed on social-media platforms. 

Q. You often stage your performances in challenging locations highlighting the natural environment — glaciers, lakes and, most recently, old-growth forests — then pair them with meditative music that you compose. What’s your intention with these interdisciplinary juxtapositions?

A. I believe that culture comes from the land, where one is in the world that shapes who they are. This attitude has been affirmed and informed by the work that I’ve been doing with the Awi’nakola Foundation over the past six years. By bringing obvious cultural activities like opera, classical music and art handling into the natural environment, I’m essentially saying that these sites are cultural. The fact that contemporary urban societies don’t seem to recognize this is part of my point. I’d add that cultural values that don’t make this connection are the main reason we’re facing impending environmental catastrophe. What could be more valuable than clean water, clean air and abundant biodiverse ecosystems? Yet here we are feeding water to data centres that are also using vast amounts of energy, making it harder to transition to clean energy.

Q. Both pieces in this exhibit — “Of Weather (For Geoff Hendricks)” and “Tom Thomson Centennial Swim” — reference the work of other artists. How important is it to acknowledge the history of art, and the role of the individual artist, in your work? 

A. Art history is happening all around us all the time.Acknowledging this history is another way of acknowledging where aspects of cultural thought come from, good or bad. For me, art history is sometimes a scaffolding of ideas to build upon and other times it’s something to push back upon. For example, the work of the Group of Seven was very dominant when I was growing up in northern Ontario, where the Group made their first trips. As a young artist, however, their approach didn’t connect with me. Since then, I’ve attempted to make alternative landscape art that deals with the complex issues that frame our relationship with the environment.

Q. Tell us about the “image ballet” that will be performed on March 28. What’s the intention of having pictures of clouds move around an indoor environment, and how does that reflect the original staging of this piece?  

A. For the past 25 years the artworld has become more globalized and mobile. There are now dozens of international biennials and art fairs. Behind the scenes in these events are armies of art-handlers who are moving, setting upand taking down these shows. There is, of course, also a massive carbon footprint connected with these activities. By moving images of clouds around, I’m referring to how we as humans are changing the weather and are therefore responsible for it. And, on another level, because the “image ballet” involves large canvases being moved by art handlers, I’m referring to the art world’s culpability in all of this. 

Weather Conditions runs until April 11 with two live musical performances on Saturday, March 28, at Legacy Gallery (630 Yates). Registration is required for the live musical performances.

A media kit containing high-resolution photos of Paul Walde and his exhibit Paul Walde: Weather Conditions is available on Dropbox.