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Public Art

Image credit: Angie Quintanilla Coates, Life Is a Kaleidoscope, 2024, acrylic on wood relief. Courtesy of the Artist.  

30th Anniversary Public Artworks 

The Gallery at Evergreen Arts 

Evergreen Arts Season Launch  Saturday, September 19 

On the Dot: Mini Artwork Tours 

5:30 PM: Jordanna George: Full Moon  

6:00 PM: Laara Cerman: Flora’s Song No. 1 in C Major 

6:30 PM: Angie Quintanilla Coates: Life Is a Kaleidoscope  

Celebrating Evergreen Arts’ 30th Anniversary, The Gallery at Evergreen Arts presents three public artworks by Tri-Cities artists that enliven our facade with the same creative spirit that unfolds within our centre.  

All year round, The Gallery at Evergreen Arts presents a curated series of public artworks in our neighbourhood. These installations complement our gallery programming and offer a chance for visitors, parkgoers and transit users to engage freely with contemporary art in our community. To celebrate Evergreen Arts’ 30th anniversary, artworks by Tri-Cities artists appear on the building’s exterior. These public works enliven our building facade with the same creative spirit that unfolds within. Art by Port Coquitlam’s Laara Cerman, Port Moody’s Angie Quintanilla Coates and Coquitlam’s Jordanna George kick off our 2026/27 Season. 

Image credit: Cherry Archer, Botanical Ice Tiles, 2021–, site-specific installation at Lafarge Lake-Douglas SkyTrain Station, 2026. Presented by The Gallery at Evergreen Arts and TransLink. Photo: Rachel Topham Photography. 

Cherry Archer: Botanical Ice Tiles  

Lafarge Lake–Douglas SkyTrain Station  2026 – 2028

Photographer Cherry Archer is a gardener and avid forager. She finds inspiration in these activities, which guide her art practice and provide materials for her Botanical Ice Tiles (2021–) series. To create her photographic still lifes, Archer first arranges and then incrementally freezes plants in water to form what she calls “botanical ice tiles.” She then illuminates these ice-bound sculptural compositions of vegetal material with coloured light and photographs them over several sessions. A selection of the resulting photographs appear as large-scale images on the windows of Lafarge Lake–Douglas SkyTrain Station.                                                                                                                                 
About the Artist: Cherry Archer is a Vancouver-based artist trained in photography. Her art is strongly influenced by “eco-psychology,” a field that fosters ecological thinking and documents how exposure to nature benefits mental, physical, and emotional well-being. 

Presented by The Gallery at Evergreen Arts and TransLink

Image credit: Angie Quintanilla Coates, Life Is a Kaleidoscope, 2024, acrylic on wood relief. Courtesy of the Artist.  

Angie Quintanilla Coates: Life Is a Kaleidoscope  

August 2026 – August 2028 

Evergreen Arts Studio D

Angie Quintanilla Coates’s artworks share her spirit of persistent joyfulness that comes from her Mexican culture. Their colours and geometric forms celebrate a bold optimism and jubilant investigation of form. This mindset reflects the open curiosity, creativity and playful thinking of our Arts Education Department. Adapted from her painting Life Is a Kaleidoscope (2024), Coates’s design for our classroom windows mirrors the creativity of Evergreen Arts’ youngest artists. Coates is a Mexican visual artist based in Port Moody who creates geometric compositions with vibrant colours. 

Image credit: Jordanna George, Moon 1, 2023, digital. Courtesy of the Artist. 

Jordanna George: Full Moon  

Evergreen Arts Portico  

September 2026 – February 2027  

To reconnect with their Salish roots, Jordanna George completed a “full moon art challenge,” started by artist Ocean Hyland on social media in 2023. George created one artwork for each full moon that year. Three of these moons, each in Coast Salish style, are exhibited as lightboxes at Evergreen Arts, celebrating Indigenous presence on this land since time immemorial. George is an artist of mixed T’Sou-ke and Ukrainian ancestry. Originally from Sooke, BC, they now live on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), səlilwətaʔɬ (Tsleil-Waututh), and kʷikʷəƛ̓əm (Kwikwetlem) nations in Coquitlam. Through comics and illustration, their work explores themes of identity, belonging and hope, drawing influence from Indigeneity, queerness and science fiction.  

Image credit: Laara Cerman, Ranunculaceae. (Ranunculus repens) Creeping Buttercup, 2019, C-print. Courtesy of the Artist.  

Laara Cerman: Flora’s Song No. 1 in C Major 

September 2026 – February 2027 

Evergreen Arts Lobby  

Plants are seen, touched, smelled and tasted—but what if they could be heard? Flora’s Song No1. in C Major is composed using a sequence of DNA from two invasive plants, creeping buttercup (Ranunculus repens) and brown knapweed (Centaurea jacea). The song translates the nucleotides in DNA (A, T, C, G) to the notes in the chords E minor 7 (E, G, B, D) and C major 7 (C, E, G, B), which play simultaneously on a pipe glockenspiel within a handmade music box. Born and raised in Port Coquitlam, Cerman investigates the natural world through sculpture and image–making, informed by the ecology and botany of British Columbia’s coastal forests.  

Image: Karen Zalamea, Herbarium (after Flora de Filipinas), 2024-2025, site-specific installation at , exhibition at The Gallery at Evergreen Arts, 2026. Photo: Rachel Topham Photography.

Karen Zalamea: Herbarium (after Flora de Filipinas)

Herbarium (after Flora de Filipinas) (2024–25) by Karen Zalamea depicts 20 cyanotypes of illustrations from the 19th-century botanical text Flora de Filipinas, assembled into a digital collage. In this work, Zalamea investigates how such images, taken during research surveys, are considered “unbiased” and “scientific” yet are in fact linked to colonial practices of knowledge extraction, and as such not “neutral” at all. The artwork portrays how plant life—particularly in the historical context of the Philippines under Spanish colonial rule—is tied to ideas of identity and connection to place. Together, the cyanotypes act as what Zalamea calls a “herbarium of heritage.”


The artist created digital negatives from scans of the botanical illustrations to make cyanotypes: a camera-less photo technique where an object or negative is placed onto a light-sensitized surface, then exposed to daylight to create an image. In this mural-like interpretation, the sunlight has a different role—it instead courses through the vinyl window coverings to create a translucent, stained-glass effect.

Like how Zalamea reconfigures existing botanical illustrations into cyanotypes in Herbarium, the translation of the original cyanotype artwork into the window installation showcases the life cycle of images—continuously replicated and consequently spread. With the artwork reformatted to fit Evergreen’s windows facing Lafarge Lake, the troubled stories that Herbarium tells here mirror the work’s localized context. It offers us a moment to reflect on how colonialist projects and ideals were implemented through the development of Lafarge Lake, which has forever altered local surroundings.


This public art project is part of the 2026 Capture Photography Festival’s Public Art Program.