ROBERT BAILEY
Western Living Design Icon Award
A WINDOW DISPLAY AT INFORM | SEP 10 - NOV 6
CURATED BY ADDITION
ARTISTS + MAKERS
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CAMILA RODRIGO ARAMBURÚ
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JEFF MARTIN
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JENNIFER LATOUR
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BILL BAKER
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GEOFF REES (1930-2018)
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VALERIIA POLISHCHUK
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TYLER JAMES GOIN
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SILVANA PESTANA
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CLAIRE ANDERSON
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LIAM MCCLURE
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JULIE BEUGIN
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TODD LAMBETH
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SEAN ALWARD
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MARIE LANNO
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BRYAN MULVIHILL "AKA TROLLEY BUS"
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JULIE YORK
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JEMMA VAN OSCH
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BEN MCLEOD
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GORDON HUGHES
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NATALIA DOCUMET
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NEAL CAMILLERI
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LAM WONG
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MEG HÜBERT
EXHIBTIONS + INTERIORS +
EXHIBTIONS + INTERIORS +
NEW ARRIVALS
Recently added art, design, and objects now available at ADDITION.
Glenn Lewis
Untitled - Pair of Figural Ceramic Vessels
Circa mid-1960s
Stoneware with matte brown and glossy ochre/amber glazes
Taller Vessel: 10 in H × 4 in Dia
Shorter Vessel: 9 in H × 4 in Dia ($22.9 \times 10.2\text{ cm}$)
Stamped by the artist on the underside
Excellent vintage condition
This rare pair of mid-1960s stoneware vessels by Canadian conceptual artist and ceramist Glenn Lewis captures a pivotal moment of harmony between traditional studio pottery and sculptural figuration. Created shortly after Lewis completed his apprenticeship under Bernard Leach at St Ives, these works demonstrate his total command of reduction firing: deep-brown matte upper bodies contrast sharply with a runny ochre and amber glaze that breaks and pools across the lower sections.
Conceived as an enigmatic pair, each figure features a stylized, reduced face—pierced eyes, a delicate ridge for a nose, and an expression balancing watchfulness with quiet composure. One vessel displays fine incised linear markings across its chest while the other remains plain, creating a silent narrative dialogue between the two forms. Vases in utility but sculpture in spirit, these vessels represent an essential bridge between Lewis's formal Leach Pottery lineage and the playful, concept-driven art practice he established in Vancouver during the late 1960s.
Ai Weiwei – Artist Hand (2017)
Cast urethane resin with electroplated rhodium
5 ⅛ × 3 ¾ × 3 ⅞ in. (13 × 9.6 × 9.8 cm)
Limited edition of 1,000 (Hand-signed on the underside)
Condition: Excellent / Original condition (Includes original cardboard box)
Artist’s Hand (2017) translates Ai Weiwei’s iconic, provocative photographic series Study of Perspective into a tactile, three-dimensional statement. Cast directly from the artist’s hand with his middle finger raised, the sculpture functions as a compact monument to individual dissent, challenging institutional power and defending freedom of speech.
Formed in dense urethane resin and finished with a brilliant electroplated rhodium mirror coating, the object balances a cool, pristine finish against a visceral gesture of protest. The work was co-published by the Public Art Fund and eBay for Charity to benefit Ai’s citywide New York installation, Good Fences Make Good Neighbors (2017–2018), linking the edition to broader contemporary discussions on geopolitical borders, displacement, and human rights.
Preserved in its original presentation box and featuring the artist's incised signature on the underside, Artist’s Hand stands as an instantly recognizable, highly collectible landmark piece from one of the most significant political art practices of the 21st century.
Tyler James Goin
PNW Vessel 191
2025
2.75” h x 6.5” w
Reclaimed stoneware and metallic glaze
Tyler James Goin
PNW Vessel 206
2025
DIA 6.25 x 4.25 h in
Reclaimed stoneware and matte white glaze
Marcus Bowcott
Das Kapital Gnomon
2006/2010
Bronze and steel
72 x 20 × 18 in
*Suitable for outdoor use is a functioning sun dail
Claudia Cuesta
Earned It
2026
Photo on Archival Paper Framed
19 × 20
(Edition of 10)
OS ∆ OOS
MATRIX Light
Designed by Oskar Peet and Sophie Mensen
The Matrix light stems from a modular structural system engineered for endless spatial configurations. Grounded in architectural construction logic, the design translates multipurpose engineering into an elevated, "form meets function" lighting object.
Constructed from an interlocking sequence of individual steel ribs, the system’s underlying logic can be adapted fluidly across scales, extending effortlessly from standalone design objects to interior elements and full architectural structures.
When viewed directly head-on, the grid structure presents a stark, graphic transparency. As the form curves or the viewer shifts perspective, this openness gradually dissolves into a dynamic gradient of light and shadow. The inner planes of each modular grid capture and refract illumination, creating a constantly evolving interplay between light, depth, and angle.
The result is a synthesis of geometry and illumination that showcases the broad aesthetic and functional possibilities of the Matrix system, balancing industrial precision with atmospheric presence.
Designers: Oskar Peet & Sophie Mensen
Materials: Powder-coated steel + LED panel
Dimensions: 141.2 × 30 × 42.1 cm (55.5 × 12 × 16.5 in)
Lead Time: 3-4 months
Origin: Handcrafted in Eindhoven, Netherlands
OS ∆ OOS
TUNNEL Bench
1/1 (Unique Piece)
The Tunnel bench combines high-tech manufacturing processes with the timeless structural logic of traditional carpentry. Designed by Oskar Peet and Sophie Mensen, the piece translates the tried-and-true stability of the classic sawhorse into an elegant, minimalist form.
Engineered with absolute purity of form and function, the bench is constructed entirely without physical fasteners, hardware, or glue. Every element serves as a direct supporting component, relying on precise geometry to hold the structure together through mutual tension and balance.
The concept stems from observing modern materials that integrate multiple functional characteristics into a single element. Advances in industrial fabrication—specifically the ability to rapidly precision-cut round extruded tubes—allowed for complex joinery where components interlock directly into one another. This adaptive technique enables traditional construction principles to be applied to modern material processing.
Extruded aluminum was selected to maximize structural integrity while drastically reducing total weight. The result is a robust yet lightweight one-of-a-kind piece that balances structural clarity, ease of assembly, and effortless portability.
Materials: Extruded Aluminum
Dimensions: 190 × 29 × 40 cm
Origin: Made in Eindhoven, Netherlands
Erik Olson
Agnes
2015
8 × 6 in
Oil on canvas
Exhibition history: Bravin Lee programs, New York & Barbara Edwards Contemporary, Calgary
Erik Olson
Behran
2015
Oil on canvas
8 × 6 in
Exhibition history: Bravin Lee programs, New York & Barbara Edwards Contemporary, Calgary
Marcus Bowcott
Car Stack in Hot Dry Place
2025
Oil and mix media on panel with billard balls
33 × 31 in
Marcus Bowcott
Chain and Go Justice outside of Hope, BC
2026
Oil on mylar
36 × 24 in (Unframed)
*This August, this piece will take over the streets of Vancouver. It has been selected for the city-wide 20 Faces public art exhibition, where it will be transformed into massive, 66" x 44" backlit installations at bus shelters across the city.
While Vancouver gets to experience it on a grand public scale, the glowing, original oil-on-mylar painting is available to bring into your private collection.
Marcus Bowcott
Full-Weld Wrath outside of Hope, BC
2026
Oil on mylar
36 × 24 in
*This August, this piece will take over the streets of Vancouver. It has been selected for the city-wide 20 Faces public art exhibition, where it will be transformed into massive, 66" x 44" backlit installations at bus shelters across the city.
While Vancouver gets to experience it on a grand public scale, the glowing, original oil-on-mylar painting is available to bring into your private collection.
Marcus Bowcott
Eldorado coup
2026
Acrylic polymer, pewter and stone
3.5 × 14 × 7 in
Marcus Bowcott
Break Through, 1986
Etching on handmade rag paper
16 × 20 in / 21 × 28 in (handmade rag paper)
Signed and numbered, Edition of 40
Produced by New Leaf Editions
$800 CAD (Unframed)
In 1986, the Canadian Men's National Team qualified for their first-ever FIFA World Cup. To commemorate the historic achievement, New Leaf Editions commissioned four celebrated Canadian artists: Marcus Bowcott, Doug Biden, Gordon Smith, and Arnold Shives, to produce an exclusive limited edition etching series. The resulting works were significant enough to be included in Team Canada's official collection.
Break Through captures the defining moment in red, white, and blue: a ball bursting through the net in Canada's colours, frozen at the instant of arrival. The hand-drawn quality of the etching gives the work an energy and immediacy that no photograph could replicate, a fitting tribute to a moment that changed Canadian soccer forever.
Now, with the FIFA World Cup returning to Vancouver in 2026, this piece carries renewed resonance for collectors of Canadian art and sports history alike.
Only 14 of the original edition of 40 remain, all in excellent condition.
Marcus Bowcott
The Skippers El Dorado on a Bundle Boom
2026
Bonze and Mock Orange Twigs
4.5 × 19 × 5 in
Marcus Bowcott
The Weather Man
2026
Bronze, Mock Orange twigs and steel
16.75 × 11 × 5 in
WHAT WE DO
Two Decades Shaping Art, Design, Interiors, and Spatial Experiences
With more than twenty years at the intersection of art and design, we understand that spaces carry meaning. Our role is to help you shape environments that feel intentional, compelling, and personal.
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Beyond decoration, we curate resonance. ADDITION offers bespoke art advisory rooted in curatorial expertise, collector insight, and a sensitivity to space. Whether building a personal collection or integrating statement pieces, we ensure every work fits with intention — scaled precisely, placed with purpose, and selected to transform the atmosphere of your home or project.
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Design with intention. Once a collection or vision begins to take shape, we extend that curatorial eye into the full environment. Shaped by over two decades working alongside the world’s most iconic design houses — from Italy to Scandinavia to North America — ADDITION brings a refined understanding of scale, flow, and spatial storytelling. Collaborating with architects, contractors, and craftspeople, we ensure ideas move seamlessly from concept to completion. The result: interiors that are both enduring and considered — spaces that reflect your values, enhance how you live or work, and stand the test of time.
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Translating identity into environment. ADDITION partners with brands to shape environments, installations, and activations that embody identity and narrative. Drawing on two decades at the intersection of art, design, and commerce, we create spatial experiences that resonate — immersive, memorable, and strategically aligned. Working hand in hand with architects, contractors, and production teams, we ensure concepts are realized with the same precision and impact with which they are conceived.
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Sell with confidence. For collectors and estates, ADDITION provides expert guidance in consigning significant works of art. Working with trusted appraisal partners, clear documentation, and direct access to a discerning client base, we offer a transparent and strategic pathway for placement. Every work is stewarded with care — ensuring it is appreciated, valued, and positioned for its next chapter.
A Dialogue of Lineage:
Fells House 1959/2025
Ron Thom × D'Arcy Jones
Curated by ADDITION
CURATED TWENTIETH-CENTURY & CONTEMPORARY DESIGN
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EERO SAARINEN
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GERRIT THOMAS RIETVELD
$7,800
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PATRICIA URQUIOLA
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TOBIAS SCARPA
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Poul Kjærholm
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JEFF MARTIN JOINERY
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ALDO BAKKER
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DAVID HOCKNEY
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INGO MAURER
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WALTER GROPIUS
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JACOBO FOGINI
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BARBER & OSGERBY


Wayne Ngan (1937-2020)
Glazed Stoneware Vessel with Hakeme Brushwork and Calligraphic Bird Motif
Circa 1970s–1990s (Mature Hornby Island Period)
Glazed stoneware with white hakeme slip, dark oxide lip, and iron/pigment brushwork
9.5 in H × 8 in Dia
Stamped by the artist on the base
Excellent vintage condition
This stoneware vessel exemplifies the expressive mastery and earth-bound philosophy of celebrated Canadian ceramist Wayne Ngan. Rooted in his lifelong commitment to "maximum participation", a creative ethos where art, studio architecture, and raw environment seamlessly merged on Hornby Island, this piece captures Ngan at the height of his mature practice.
The vessel showcases dynamic, sweeping hakeme brushwork, a traditional coarse-brush application of creamy white slip across a dark stoneware body, creating rich tactile grooves and visual momentum around the vessel's swelling circumference. Over this textured, atmospheric surface, Ngan rendered a single calligraphic bird in flight using swift, decisive iron-brush strokes near the base. The piece is crowned by a short collar finished in a glossy, dark blue-grey glaze that pools neatly at the rim.
Drawing deeply on Song Dynasty aesthetics, Korean buncheong slip techniques, and Japanese studio pottery, this piece bridges ancient East Asian ceramic traditions with modern West Coast studio craft. Intimate yet substantial in presence, it represents a quintessential acquisition for collectors of contemporary Canadian studio pottery.