We Are Not Alone
June 6 - July 18, 2026
Featuring: Norman Barney, Bramble Drewitt, Judy Duggan-McCormack, Ralph Heading, Henry Holt, Kate MacDonald, Kirsty Paterson, Christine Spinder, Shane Watt, Chris Zajko and Zola.
Events
Opening Reception: June 6 from 6-8pm
Artist Talk: June 27 at 2pm
Tinfoil Hat Workshop: July 2 at 2pm
Special Performance on World UFO Day
Theremin Man performs “Music For The Aliens: A Journey Through Sound”: July 2 at 8:30pm.
Tickets are $20 and available on our website. www.outsidersandothers.com
Early Christian writers imagined countless worlds dispersed throughout an infinite universe. For many these extraterrestrial realms were not empty possibilities, but places inhabited by living beings.
Visionary artists have long sought to transcend the limits of the physical world. Their artwork often comes from an altered state of consciousness brought about through meditation, shamanic journeys, dreams, or direct encounters and transmissions from unknown intelligences.
In 1947, the first widely documented UFO sighting marked the beginning of a new cultural mythology surrounding unidentified aerial phenomena and extraterrestrial contact.
This exhibition focuses on visionary artists and their alleged experiences with flying saucers, alien abductions, interdimensional entities, and close encounters of all kinds. Through painting, textile, printmaking, drawing, and digital photography, these artists attempt to give form to experiences that exist beyond conventional understanding.
We also wanted to present the weirdest exhibition we could while World Cup is in Vancouver.
Zola
In an increasingly chaotic, fractured, mad world art becomes a means to ground ourselves, a means of survival. That can mean physical, mental, emotional and yes, spiritual survival.
These are what art means to Zola. She strives to express the sacredness and beauty inherent in life, in the natural organic world. To communicate goodness, joy, a reverence for life itself, in the hope the messages contained in the pieces present themselves to the right viewer at the right time - for THEM. It's based on the adage: when the student is ready the teacher appears.
Art as synchronicity.
Art transcends spoken language, speaks directly to the soul; a language of symbols. It thus becomes a conduit - transmitting messages of hope, affirmation, solace, inspiration and many other things from a higher power.
Zola
We Are Not Alone
Acrylic on board
6' x 3' / triptych
SOLD
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Shane Watt
My art practice seeks to challenge the need for centralized systems or rigid frameworks, emphasizing instead the fluid and contingent nature of knowledge, relationships, and societal organization. My maps and related conceptual work hope to reflect this perspective by rejecting the rigidity of traditional art and cartography and creating works that defy singular narratives or fixed ideologies. My methods of distributing the maps mirrors my anti-foundational tendencies. By randomly gifting or hiding maps in public spaces, I decentralize art and reject the institutionalized commodification of creative work. This guerrilla-style distribution emphasizes direct engagement with my audiences, breaking down barriers between the artist and the public. My approach decentralizes art, allowing me to discuss art and politics with regular people and for my maps to exist in the hands of individuals rather than being confined to galleries or collectors. This playful dissemination also reflects my belief in the unpredictable and contingent. Once a map is shared, its fate is uncertain—it may inspire, provoke, or even go unnoticed. This relinquishing of control reinforces my rejection of fixed outcomes and centralized narratives. At the core of my work is a reflection on humans and our relationship with space and time. By crafting worlds where norms and hierarchies are subverted or discarded, I invite viewers to question the "maps" we create in our own lives and consider alternative paths.
Shane Watt
Old Remnant
Ink and marker on paper
22" x 34"
$950 + tax
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Henry Holdt
Henry Gustav Holdt (1966 - ) lives and works in San Francisco California. He is self taught and works with recycled materials mixed with acrylic and watercolor paints, paper, cardboard, thread, fabric, wool, plasticine, wood, wire, foil and glass. His inspirations include Mexican art, children’s book illustrations, and Medieval religious art.
Henry Holdt
Get Wisdom (Proverbs 4:7)
Wood, Paper, Wrapping paper, Clear Acetate, Acrylic Paint, Watercolor Paint, Pen, Glue
15" x 15"
$600 USD + tax
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Henry Holdt
Beneath Antarctica
Wood, Paper, Acrylic paint, Watercolor paint, wrapping paper, velum
18" x 14"
$800 USD + tax
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Henry Holdt
Hollow Earth
Wood, Paper, Clear Acetate, Acrylic Paint, Watercolor Paint, Pen, Glue
12" x 11"
$300 USD + tax
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Kirsty Paterson
After taking a freighter from Vancouver to Alaska, Kirsty emigrated from Scotland to Canada. She has also travelled to Europe, Africa, the Middle East and the Arctic.
She has explored various avenues of health care and art-making, and is self-taught.
Currently Kirsty is learning to create collages from Japanese washi paper, inspired by the surrounding mountains, forests and sea.
Kirsty Paterson
Faerie Dust
Photography - digital art
16" x 16"
$250 + tax
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Kirsty Paterson
Birth of an Alien
Photography - digital art
16" x 16"
$250 + tax
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Chris Zajko
Chris is a visual artist and musician born in Warsaw, Poland, currently based out of Calgary.
Gravitating towards various forms of surrealism, his work occupies an intersection between personal history, collective memory and current environment.
Here are some examples of psychic wildlife found on the west coast. Psychic wildlife occurs when the human population density near a tectonic fault line passes a certain threshold.
As a result of excessive psycho-geological tension, the barrier between 'inner' experience and 'outer' reality can become porous and unstable. When this happens, creatures and phenomena normally only encountered in dreams begin to seep out into the natural environment.
Untethered from the individual minds that initially manifested them, these psychic organisms become part of the local ecosystem.
While predominantly visible only to those who are considered mentally ill, psychic wildlife registers in the minds of the general population as a vague but persistent sense of unease that is so characteristic of certain major coastal cities.
Chris Zajko
Psychic Wildlife Specimen 1
Watercolour and pen on paper
6" x 9"
$175 + tax
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Chris Zajko
Psychic Wildlife Specimen 2
Watercolour and pen on paper
6" x 9"
$175 + tax
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Chris Zajko
Psychic Wildlife Specimen 3
Watercolour and pen on paper
6" x 9"
$175 + tax
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Chris Zajko
Psychic Wildlife Specimen 4
Watercolour and pen on paper
6" x 9"
$175 + tax
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Chris Zajko
Psychic Wildlife Specimen 5
Watercolour and pen on paper
6" x 9"
$175 + tax
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Chris Zajko
Psychic Wildlife Specimen 6
Watercolour and pen on paper
6" x 9"
$175 + tax
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Chris Zajko
Psychic Wildlife Specimen 7
Watercolour and pen on paper
6" x 9"
SOLD
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Chris Zajko
Psychic Wildlife Specimen 8
Watercolour and pen on paper
6" x 9"
$175 + tax
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Kate MacDonald
Kate is a multidisciplinary artist based in Vancouver, BC. With work spanning painting, digital collage, and new media, she describes her work as “reality amplified” - a vivid interpretation of human experience through layered memory, transformation, and emotional resonance.
Kate's public artworks focus on visual storytelling that strengthens place-based identity, reflects community history, and invites emotional connection through richly layered imagery. Two large scale collages were completed over the past year and installed in market rental properties. She is excited to have her work displayed in communities where residents can recognize themselves
within the work and foster a sense of pride in place for their neighbourhood and its historic roots. She has recently completed the designs for a public art commission at 525 Powell Street in Vancouver. Her most ambitious and permanent project to date, the works will be fabricated into the building facing panels during manufacture and span three exterior facades.
Since 2010, Kate’s focus on digital and new media has allowed her to explore the intersection of personal and collective histories using both handmade and technological processes. Her work has been exhibited internationally, and she was named a Top Ten digital artist in international competition by the Los Angeles Center for Digital Art (LACDA) in 2012, 2017, and 2024.
Her 2012 digital series, Chernobyl Spring 1986, wove personal and historical narrative with ecological rebirth, evoking themes of young love, transformation, and memory within a post- nuclear Eden. These works cemented her ongoing interest in the interplay of place, memory, history, and myth.
She is also an accomplished painter. Kate's early series of Last Meals painting, still lifes created in oil, were shown throughout the United States, showed up on protest posters in Afghanistan, and were featured in Wired and GQ magazines, resulting in worldwide attention.
Kate MacDonald
Chorus
Oil on canvas
16" x 20"
$900 + tax
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Norman Barney
Sometime in the late 1970’s, as I was sitting around a small campfire along with two friends in the mountains near Lake Tahoe, I saw a UFO hovering over the lake. My two friends and I watched it for well over an hour, when suddenly it sped away and vanished.
I have put UFO’s in a number of my artworks since that time. They are a mystery.
I lived in the USA during a time of upheaval and violence. Personally, I suffered from physical and emotional abuse from my ex paratrooper father, my teachers and from random people in my neighbourhood. I have been diagnosed with PTSD.
My parents moved the family to Canada in 1969 because they thought there would be a civil war after Martin Luther King and Robert Kennedy were assassinated. That saved me from the violence of American society and making art has saved me from the depression and despair inherited from my childhood. By making art, I can function so much better in society.
I have no formal art education or any training. I just make art. I have always made artwork. It is one thing that drives my life. I have gone to art galleries and have shown my artwork in various venues. Many of my friends are artists. I enjoy their quirkiness and questioning minds and I feel at home with many of them.
Norman Barney
They are Here
Mixed media on found artwork
42" x 24"
$350 + tax
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Christine Spinder
I’m a self-taught, autistic artist making hand-made botanical dyes to depict the otherworlds I perceive - from ancient quantuum symbols to dreamspace beings. After several years of mastering botanical dye process, I’ve now found form in these mythic creatures and scenes.
Part of my aim is to show what is possible with fully organic art, in contrast to the often toxic mediums of art making. Working with botanical dyes is an exercise in both complex precision and constant surprise with how the dyes respond to materials, the elements and time - the perfect fascination for my autistic sensibilities.
Christine Spinder
She Came From the Moon
Hand-made organic botanical dyes on linen with cotton backdrop
22" x 52”
$1,800 + tax
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Bramble Nancy Drewitt
"What’s up for me in my life, the state of the world, social equity, my nervous system and disabilities, become transmuted with symbolic representation forming the background as the mercurial ebbs and flows around it. Images from my past, gods, tarot, dreams, fabric prints, formulas, computer code and plants form a visual pallet of a symbolic language which are keys to my art. Some images I’m compelled to repeat like checkered floors or the hangman, other imagesI just feel the urge and may not yet understand the meaning. I often have the sense that I am channeling rather than creating.
Growing up in Winnipeg, land of the Anishinabewaki, Očeti Šakówiŋ (Sioux) and Metis, and as the eldest of 5 with a working class single parent mother, I went on to raise my own son as a single parent. Social justice is extremely important to me and I spent my life working for social change. Now grateful to be an old one, I follow the rhythms of a body with chronic pain and devote myself to magic, writing, art, and healing on the unceded traditional and ancestral homelands of the xʷməθkʷəy̓əm (Musqueam),sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) Nations."
Bramble Drewitt
Cows and Circles
Acrylic on canvas
14" x 14"
$165
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Cows and Crop circles are popular icons in UFO sightings. In the 90s I visited an Alberta Farm and asked the owner about Crop circles. He said no there weren't any around yet, but when the government started giving grants for mutilated cows the number of farmers claiming greatly increased. He speculated once they start to give grants for Crop Circles he expected the numbers would go up.
Ralph Heading
I have always made things and have been able to sell enough of what I make to support my family. I never broke away from my original pursuit of only using materials found at hand so that the cost of creation would only be labour. That led me directly into recycling. Scrap, if diverted from the prime user, is free.
Now I work in my studio, and, where my kids once stood, my grandchildren now keep me company as I work. I trust this happiness and contentment shows in the pieces I create.
Ralph Heading
Ornithopter
Found objects
19" x 21" x 21"
$400 + tax
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Ralph Heading
Stay Here Until I Finish Shopping
Found objects
14" x 9" x 17"
SOLD
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Judy Duggan-McCormack
My studio practice is rooted in material and textile-based processes, where cloth becomes both medium and metaphor. I work with fabric, thread, and found materials, often incorporating worn or discarded textiles that carry traces of previous lives.
Through stitching, layering, and deconstruction, I explore how materials can hold memory, absorb time, and bear witness to absence.
Themes of death, dying, and grief are central to my work. I am drawn to the quiet, often overlooked gestures associated with care and loss and letting go. Textile processes, with their inherent slowness and repetition, allow me to sit with these experiences, transforming them into tactile forms that are both intimate and contemplative.
My approach embraces fragility and impermanence. Frayed edges, loose threads, and delicate structures are not repaired but held in tension, reflecting the unresolved nature of grief itself. The act of stitching becomes a meditative gesture, a way of marking time and acknowledging what cannot be restored.
In the studio, accumulation and layering mirror the emotional weight of loss. Each piece becomes a quiet vessel, inviting viewers to engage with grief not as something to resolve, but as something to carry, to witness, and to honour.
Judy Duggan-McCormack
Reassignment
Embroidery on eco-dyed vintage silk
18” x 22”
$750
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"This work stages an improbable encounter between belief systems, where the sacred and the
speculative briefly share the same sky. A coffin, marked by ritual and finality, is suspended within an otherworldly beam, suggesting transition rather than conclusion. Rendered on aged textile, the surface carries its own quiet patina, echoing histories that feel both distant and persistent. By combining familiar funerary imagery with elements of science fiction, the piece opens a space for ambiguity, where narratives of departure, transformation, and the unknown intertwine. It invites reflection on how we imagine passage, and how stories shape our understanding of what lies beyond."