Michael Nicoll Yahgulanaas: Between the Pages – Opening Reception
Saturday, December 5, 5:30pm – 7:30pm
Free. Drop-ins welcome.
Join the artist and curator on Saturday, December 5th to celebrate the opening of Michael Nicoll Yahgulanaas: Between the Pages at The Gallery at Evergreen Arts. Light refreshments will be served.
ABOUT THE EXHIBITION
Michael Nicoll Yahgulanaas’s art practice, which spans five decades, moves between literary, performing and visual arts. In all these forms, his work tells challenging stories that expand understandings of Haida culture, relations between Indigenous and non-Indigenous communities and how people impact their environment. Between the Pages explores how Haida Manga works in the space between cultures, and how the tension and innovation in this intersection generates cross-cultural understanding.
At the centre of the exhibition is a reading space for visitors of all ages. Settle into the gallery and discover the coloured worlds Yahgulanaas has created. The library features many of the artist’s acclaimed graphic novels, such as The Lost Haida Manga: A Compendium (2026), JAJ: A Haida Manga (2023), The Little Hummingbird (2010), and Red: A Haida Manga (2009). Diving deeper into Yahgulanaas’s expansive process, the exhibition also reveals never-before-seen studio materials that trace the development of the mural RED (2009) on loan from Museum of Anthropology and Clan Hat (2025) on loan from the Vancouver Art Gallery.
Yahgulanaas’s unique art form, Haida Manga, blends North Pacific Indigenous visual language with the graphic dynamism of Asian comics. Spurred by the desire to unite oppositional forces and rooted in the artist’s history of activism, Yahgulanaas developed his distinct visual language of Haida Manga. With this fusion art form, he also celebrates the historical relationship between Coastal Indigenous Peoples on the Pacific Rim and the peoples of Asia. His work bridges cultures and storytelling traditions, engaging audiences across generations.
Supported by Vancity
Photo credit: Samantha Edwards
