The Department of Art History, Visual Art & Theory at the University of British Columbia (UBC) presents Loosely Bound, the annual exhibition of new work by the 2nd-year Master of Fine Arts in Visual Art cohort. The exhibition takes place at the AHVA Gallery in the Audain Art Centre from September 17 to October 31, 2025.
Loosely Bound
Natalie Chan, Violet Johnson, Amanda Kachadoorian Jordi, Nevada Lynn, Scott Massey, and Golriz Rezvani.
September 17–October 31, 2025
Reception: Thursday, September 18, 5–8 p.m.
Interdepartmental Crits: September 26 & October 3, 1 p.m.
AHVA Gallery
Audain Art Centre, 6398 University Boulevard, Vancouver
Gallery hours: Tuesday–Friday, 12–4 p.m.
Loosely Bound brings together six artists in UBC’s MFA Visual Arts program whose diverse practices span photography, sculpture, painting, performance, and installation. The works sit in proximity—linked by layered materiality, evolving inquiries, and a shared attentiveness to transformation and artistic process.
Participating artists include Natalie Chan, Violet Johnson, Amanda Kachadoorian Jordi, Nevada Lynn, Scott Massey, and Golriz Rezvani.
Highlights include Amanda Kachadoorian Jordi’s Paper Weight, a cast-paper and concrete sculptural series derived from bureaucratic documents that explores the psychological weight of administrative systems; Golriz Rezvani’s unsettling domestic installation, where fragile materials decompose over time to evoke the female grotesque; Natalie Chan’s self-portrait installation and live performance series Paper Daughter, which spans past, present, and future in an exploration of healing, heritage, and the complexities of second-generation identity; Violet Johnson’s photosculptural staircases, which draw on intergenerational memory, mother-daughter relationships, and material attachments across generations to examine familial histories through water and light; Nevada Lynn’s we-buffalo, multi-media works that celebrate buffalo repatriation and honour the buffalo as a keeper of kinship between land, animals, and Indigenous nations; and Scott Massey’s The Distance of a Thing and Even a Stoppered Clock, which consider time at vastly different scales—from the deep history held in mirror-polished anthracite coal to the imperceptible steps of physics’ smallest units—inviting reflection on our brief human span.
Together, these artists engage the thresholds of time, identity, land, and memory—opening space for transformation and renewal.
We acknowledge that the UBC Vancouver campus is situated within the traditional, ancestral, and unceded territory of the xʷməθkʷəy̓əm (Musqueam).
