Rosewood Hotel Georgia Art Collection - Rosewood Hotels & Resorts

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Marcel Barbeau 

Location: Concierge 

Naja, Acrylic on linen, 30×30, 2009 

Winsor Gallery, Vancouver, BC 

Douglas Coupland 

Location: Lobby 

Group of Seven Paintings, Framed Print, 6 @ 30×40, 2010 

Clockwise from top left: Casson, Lismer, Harris, MacDonald, 

Johnston, Thompson 

Monte Clark Gallery, Vancouver, BC 

Patrick Hughes 

Location: Lounge 

Internity, Painting, 32×75×12, 2008 


Geoffrey Hunter 

Location: 1927 Lobby Lounge 

Folkways Study #8, Oil on canvas, 24×18, 2007 

Paul Kuhn Gallery, Calgary, AB 





Guido Molinari 


G.M.P. - 470, Ink on paper, 28×32, 1958 




G.M.P. - 373, Ink on paper, 28×32, 1958 


Ray Natraoro 


The Messenger, Carved wood with paint, 38D×5, 2010 

Douglas Reynolds Gallery, Vancouver, BC 

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David Robinson 

Location: Howe Street Entrance 

Luna, Bronze, steel and mirror, 60×48×20, 2011 



Location: Howe Street Entrance 

Sola, Bronze and steel, 60×48×20, 2011 



Location: W. Georgia Street Entrance 

Terra, Bronze and steel, 60×48×20, 2011 


Derek Root 

Location: Mid-staircase 

Untitled Commission, Encaustic, 8×6, 2011 


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ConCierge 

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Lobby 

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Howe Street 

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Mark Roth 

Location: Office Corridor 

Gold Ruby Erosion, Blown glass, 11.5×11.5, 2010 

Ian Tan Gallery, Vancouver, BC 

Jack Shadbolt 

Location: Lounge Adjacent to Reception 

Modular Variation J (I22), Acrylic on paper, 47×33, 1967 

Modular Variation R (I16), Acrylic on Paper, 40×26, 1967 

Equinox Gallery, Vancouver, BC 

Moy Sutherland 

Location: Upper Lobby 

Eagle & Raven Paddle, Yellow cedar and abalone, 2010 

Douglas Reynolds Gallery, Vancouver, BC 

Alan Wood 

Location: Reception Desk 

Garden Abstract, Acrylic on paper collage, 43.75×20.5, 2010 

Morning Garden, Acrylic on paper collage, 48×28, 2010 

Point No Point, Acrylic on paper collage, 37×21, 2008 


Rosewood Hotel Georgia Art Collection 

by Farmboy Fine Arts 

When asked to be the art consultant for Rosewood Hotel Georgia, Farmboy Fine 

Arts was incredibly excited to have the opportunity to work in its hometown. 

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With a discerning eye and great consideration, Farmboy Fine Arts has curated 

a collection of intellectually stimulating, contemporary work that not only 

complements the property’s rich interiors but also brings its story confidently 

into the 21 st century. 

Featuring curated and commissioned artwork from a broad spectrum of 

Canadian artists, the Rosewood Hotel Georgia Art Collection is a celebration 

of Canadian art in a luxury property so closely connected to the heritage of 

Vancouver. 

Farmboy Fine arts ®

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Sonny Assu 

Location: Pre-function Concourse 

Spawned, Acrylic on panel, 30×96, 2009 


Sonny Assu 

Location: Lancaster I 

Consumption, Acrylic on hide drum, 22D, 2010 


Sonny Assu 

Location: Tudor I 

iDrum Classic, Acrylic on hide drum, 26D, 2010 


Nathan Birch 

Location: Pre-function Concourse, Flanking Ballroom Doors 

Cricket Stop, Acrylic on canvas, 72×60, 2010 


Karin Bubaš 

Location: Spanish Ballroom Promenade 

Mystic, digital c-print, 40×114, 2008 


Robert Cadotte 

Location: Boardroom 

Relentless, Mixed media on panel, 48×48, 2010 

Bau-Xi Gallery, Vancouver, BC 

Robert Cadotte 

Location: Boardroom 

Vacation, Mixed media on panel, 48×48, 2010 

Bau-Xi Gallery, Vancouver, BC 





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Holger Kalberg 

Location: Top of Grand Staircase, 2nd Floor 

Apparat 5, Oil on canvas, 66×54 inches, 2010 


Mark Mullin 

Location: South Corridor Adjacent to Lancaster Meeting Room 

Matter Folded Tight, Oil on canvas, 24×24, 2004 


Mark Mullin 


Crawl Space, Oil on canvas, 24×24, 2007 


Mark Mullin 


A Gathering of Things, Oil on canvas, 24×24, 2004 


Takao Tanabe 


Errington Alberta Inlet, May 1993, Acrylic on canvas, 72×36, 1993 


Farmboy Fine Arts 

Location: Reflections, 4th Floor Terrace 

Flux, Powder coated lacquered aluminum, 2011 

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THE HOTEL GEORGIA ART COLLECTION 

When we were first introduced to the idea of putting together an art collection for Hotel 

Georgia we were incredibly excited to have the opportunity to work in Vancouver, our 

home town. This collection has become very close to our hearts by being a celebration of 

Canadian art in a luxury property so closely connected to the heritage of our city. 

Vancouver is a relatively new city and so places like Hotel Georgia, which represents a 

landmark in our city’s urban history, gains greater significance. As a result, it becomes 

even more important to showcase Hotel Georgia in its present-day splendor as an integral 

link between a reverence for its past and connection to the present. We aim to achieve 

this through our art collection of intellectually stimulating contemporary pieces and their 

nod to modern elegance that complements and bring the property's rich history 

confidently into the 21st century. 

During the development of this collection, a key priority was to ensure that each 

stakeholder group’s interests were addressed and integrated into the selection process of 

the art collection. Overall, it was critical for us to balance the importance of the regional 

and historic elements of the site with that of Rosewood Hotels & Resorts brand and 

Munge Leung’s interior design vision. Our objectives were as such: 

� To deliver a fantastic art collection that elevates the guest experience and creates 

not only an aesthetic value but also serves to enhance the long-term investment 

value for the ownership of the property; 

� To create a collection that speaks to the Rosewood brand of elegance and modern 

sophistication while mirroring its overall sense of luxury and attention to detail in 

the art collection - something that is distinctly new and unique; 

� To complement and enhance the historic interiors and the rich art deco inspired 

interior design of Munge Leung; and 

� To create a distinct sense of place not only through the inclusion of the Vancouver 

artists featured within the collection, but by weaving together a broad spectrum of 

work that tells a visual story of the extraordinary cultural and natural landscapes 

that surround this highly anticipated property.

DAVID ROBINSON 

“Luna”, 2010 

Bronze, Steel & Mirror 

“Sola”, 2010 

Bronze & Steel 

“Terra”, 2010 

Bronze & Steel 

David Robinson is one of the most exciting and talented Canadian sculptors working right 

now. His work is impressive in both technique and concept. He explores dichotomies 

such as gravity and flight, religion and secularism, individuality and mass culture; yet 

through his artistry he is able to bridge these massive discordances to a single poetic 

gesture that any manner of audience can appreciate. His work is incredibly elegant but 

also strong, which is why it works so well for indoor and outdoor spaces and why he has 

been highly commissioned for many public works. 

Robinson’s sculptures provide a beautiful introduction to Hotel Georgia, as his pieces 

capture a certain mythological quality that celebrates the historic as well as contemporary 

theme of this storied property. The male and female figures face each other at the Howe 

Street entrance and the child is located at the Georgia Street entrance. These pieces will 

complement this entry for years to come and we think it is suitable to award this pinnacle 

location to the hands of such a capable artist as David Robinson. 

Artist's Statement: 

"We were given the reference points of considering the clients¹ wish that the works have some "weight" and 

also that one may cite an art-deco aesthetic or style in the conception of the work. This particular pairing of 

themes gave rise to the consideration of the classical figure of "Atlas"; a formal pairing of inverted-figure-andground 

that is both the quintessence of meta/physical Gravis, as well as a motif prodigiously populating the 

historical style referred to as Deco. 

The three works proposed proffer a mythical trio of sun, moon and earth. The visual conceit of the work is 

that of the individual figure being made replete into a visual wholeness by reflecting what one might interpret 

as a traditional trinity of the human person: the self as body/mind/soul. 

The mythical mantle of the work(s), such as, for instance, the time-worn celestial roles of masculine and 

feminine, are here placed somewhat ambiguously upon the shoulders of sun and moon and earth. A male 

figure, his back the viewer, grapples with the unwieldy orb of the sun. The female figure holds aloft the moon 

in gentle repose. And the mighty Atlas, who bears the weight-of-the-world upon his shoulders, is here 

rendered as a child; a most fitting re-telling of the old myth, in and age upon which has dawned a new human 

sensibility of how we both walk and hold the earth for future generations." - David Robinson

ALAN WOOD 

“Point No Point”, 2008 

Collage and Acrylic on Paper 

“Morning Garden”, 2010 


“Garden Abstract”, 2010 


Upon entering the hotel and walking into the spectacularly refurbished lobby, the 

transformed space leads you to the Reception Desk where three of Alan Wood’s wonderful 

odes to the West Coast hang. Wood is one of the ‘grandfathers’ of Canadian art - starting 

his career in the UK and teaching at the prestigious Cardiff School of Art in Wales, later 

immigrating to British Columbia, where he began to attract international attention with 

his most famous work, the painting installation “Ranch”, which is now part of the canon 

of Art History. Since that time he has produced his most personal and mature work as an 

artist. His interest in the dynamics of light and colour of the Ocean, Beach, Forest and 

Sky has dominated his landscape work throughout his career. 

The works we have chosen for the Reception Desk are from his most recent ‘Garden 

Series’ - beautifully representative of the West Coast that he has come to call home. His 

work often plays with the exploration of light against landscape and form which these 

pieces capture in such a striking yet subtle way. The use of collage not only speaks to the 

different color spectrum of the natural landscape, but also to the rich textures 

reminiscent of drift wood in a tidal pool or the many layers of a rambling garden. These 

pieces set the tone for the rest of the art collection, as they are welcoming and intriguing, 

classic and contemporary, and above all, are a true indication of the prestigious artists 

that are featured throughout Hotel Georgia.

JACK SHADBOLT 

“Modular Variation R (I16)”, 1967 

Acrylic on Paper 

“Modular Variation J (I22)”, 1967 

Acrylic on Paper 

The lobby lounge area next to the fireplace feature two works by another founding father 

of art on the West Coast of Canada, Jack Shadolt. Not only was he an important artist, he 

was also a teacher and mentor to the arts in our city. He taught at the Vancouver School 

of Art until his retirement – and during this time he also received an honorary PhD from 

Simon Fraser, the University of British Colombia and University of Victoria, as well as 

receiving the Order of Canada in 1972 and the Freeman of the City of Vancouver in 

1990. Although Shadbolt passed away in 1998, his extensive collection of work 

continues to be celebrated both locally and internationally. 

These two acrylics by Shadbolt are a continuation of the bright abstractions of Alan Wood 

adjacent to them. Shadbolt based his depictions on a musical syntax rather than a visual 

one as seen in the works by Wood. Shadbolt’s ‘vibrations’ of color hover throughout his 

compositions and evoke a sense of life and energy. His works appear fresh yet also reflect 

the modern sophistication of the Rosewood brand.

PATRICK HUGHES 

“Internity”, 2008 

Acrylic on Wood 

Directly across from the elevators and flanking the main Howe Street entrance is the art 

work of another major figure, Patrick Hughes. While Hughes is not Canadian, his 

association with the other artists represented in the Hotel Georgia art collection is strong. 

Hughes was a student of Alan Wood when he was teaching in the UK and Wood became a 

mentor to Hughes later on in his career; to see these two incredible artists united in this 

collection is a special moment. 

Hughes is a seminal international artist - he is acclaimed worldwide for his innovation 

and imagination. Credited with the invention of what he calls ‘reverse perspective’, the 

effect is unlike any other visual trick. "Reverspectives" are three-dimensional paintings 

that when viewed from the front, initially give the impression of viewing a painted flat 

surface that shows a perspective view. However as soon as the viewer moves their head 

even slightly the three dimensional surface that supports the perspective view 

accentuates the depth of the image and accelerates the shifting perspective far more than 

the brain normally allows. This provides a powerful and often disorienting impression of 

depth and movement. Patrick Hughes takes full advantage of this effect in his use of 

surrealist images that reinforce the altered reality of the viewer. 

Hughes’ “Internity” is carefully tucked behind the Concierge Desk to delight passing 

viewers. It is a striking and unique addition to Hotel Georgia’s art collection and should 

indeed be considered special.

MARCEL BARBEAU 

“Naja”, 2010 

Oil on Canvas 

As we now move across from the reception desk in the Main Lobby we meet another 

master of Canadian art, Marcel Barbeau. One of the pioneers of Canadian Modern Art, 

Barbeau was one of the founding members of the Automatists Movement. This was the 

first group of Canadian artists to write their own manifesto in 1948, supporting the 

liberation of the authoritarian strong hold on artistic expression and to usher it into the 

new modern era with the likes of the French proponents of Tachisme and the American 

Abstract Expressionists in the early 1940's and 50's. 

“Naja” is a wonderful example of Barbeau's interest in triggering a unique experience for 

the viewer to immerse themselves and take-in his different planes of color. While each 

color is individually eye catching, together as a whole, their properties seem to change as 

the composition is viewed as a whole. This technique speaks to Patrick Hughes work with 

optical illusion, as both artists are interested in the experience of the viewer and thus the 

visual journey of the guest. The colors are modern and lift the area with a visual accent 

that is at once contemplative and energetic.

DOUGLAS COUPLAND 

“Electric Canadian Landscape - MacDonald”, 2010 

Archival Pigment Print 

“Electric Canadian Landscape - Thompson”, 2010 


“Electric Canadian Landscape - Lismer”, 2010 


“Electric Canadian Landscape - Johnston”, 2010 


“Electric Canadian Landscape - Casson”, 2010 


“Electric Canadian Landscape - Harris”, 2010 


As we move deeper into the hotel we move into another entrance that will become a focal 

point for guests arriving by taxi or valet. This grand entrance at the porte cochere brings 

visitors up an elegant stairway that leads to an incredibly striking collection created by 

the inimitable Douglas Coupland. His collection is a contemporary commentary on the 

distinctly Canadian masters of old, the Group of Seven. Coupland takes the palettes and 

basic composition of several of the group’s masterpieces and abstracts them to create 

beautiful blocks of color and movement. 

Coupland is the archetypical commentator on contemporary culture and has brought 

emphasis to the generational and sociological themes before anyone else (he is also an 

acclaimed author and has defined a generation with his book ‘Generation X’). In these 

landscapes, he successfully ties the objective of the art collection, as it is first and 

foremost a celebration of art, as he renders a beautiful depiction of color, line and 

composition. Secondly, these landscapes tie together the new and the old, and in their 

placement in Hotel Georgia, they bridge the gap between a historic property and a historic 

property that is making its mark in the 21 st 

century. These pieces were some of the first 

works Farmboy Fine Arts chose for this property, not only because the concept fit so 

beautifully with what we wanted to achieve but also because they such a bold, elegant 

and striking group of works.

GUIDO MOLINARI & RAY NATRAORO 


“G.M. – P - 470”, 1958 

Ink on Paper 


“G.M. – P – 373 (Red)”, 1958 

Ink on Paper 

Ray Natraoro 

“The Messenger”, 2010 

Carved Wood with Paint 

Heading back towards the first floor lounge we move into a less formal space, a space of 

comfort and conversation. With this in mind we decided to place works here that create a 

unique dialogue. The two artists featured in this area come from incredibly different 

backgrounds and eras but magically compliment and speak to each other in a special 

manner that is distinct to this setting. 

Guido Molinari is another Canadian master. Born in Montreal in 1933, he painted for the 

past forty years and only recently passed away in 2004. He is best known for pioneering 

the Quebec Plasticien School of painting and his high level of dedication to the 

objectification of painting itself rather than the tradition of painting objects. Highly 

influenced by Mondrian and the Abstract Expressionist movement of the 50’s and 60’s, 

his work can be found in museums throughout North American and his valuations 

continue to rise. His work is showcased in the National Gallery of Canada as well as in the 

MOMA in New York. In 1968, he represented Canada at the Venice Biennale and was 

awarded the David Bright Prize for his work. 

By contrast, Ray Natraoro is a First Nations artist of the Squamish Nation established in 

his craft, but still considered a young artist in the shadow of Molinari. By placing these 

two artists' works together we aim to show the First Nations’ style of Ray Natraoro that of 

clean lines and abstracted mythological symbols and predict that Molinari would have 

appreciated this style. While Molinari worked primarily in Quebec, we cannot help but 

think that had he spent time with West Coast First Nations’ artists who work in the oldest 

artistic form in Canada; he would have appreciated and related with the nonfigurative 

approach of the First Nations symbols. The lively color, line work and freedom while still 

remaining calmly cohesive are indicative in both artists’ works and their identification 

with form. Making Natraoro's work even more relevant is the fact that he is a notable 

artist of the Squamish Nation, on whose traditional land territory Hotel Georgia sits. It is 

paramount to the authenticity of this collection that it is representative of the region, both 

past and present. 

The juxtaposition of a First Nations artist and a French Canadian master speaks to the 

collection as pieces that are aesthetically pleasing to the space and compliments the 

interior and also stimulates discussion and elevates the intellectual aspect of the 

property.

Artist's Statement on the commissioned work 

"My English name is Raymond Natraoro and my ancestral name is Sesiyam, which is pronounced “Sess-seeyam”. 

My father is from the Northern Tutchonee tribe located in Northern Yukon and my mother is from the 

Squamish Nation located in British Columbia. I often will use both sides of this family history to transform 

objects to art. 

I believe that I can reach many people by using my own traditional teachings from my ancestors. I have many 

teachings from my elders in my community and thrive on sharing my culture. I embrace my past and always 

seek ways to explore our culture and traditions by utilizing a contemporary style and design to capture my 

audience. Through my contemporary art pieces I have produced and worked with many different mediums, 

utilizing today to capture our past memories. 

I would like the exposure of the artwork to build a strong foundation of Coast Salish Artwork by binding our 

relationships through culture and art. I promote a healthy lifestyle and model a high quality standard. I 

believe that expanding working relationships through public artworks enables me to share our culture and 

traditions by creating a lasting legacy for our future generations. 

The installation piece for Hotel Georgia is titled “The messenger” as eagle bring the message from our creator 

that new beginnings are coming soon. Eagle is a sign of power, peace and healing for all." 

- Ray Natraoro

MOY SUTHERLAND 

“Eagle Paddle”, 2010 

Yellow Cedar, Abalone 

“Raven Paddle”, 2010 

Yellow Cedar, Abalone 

Another First Nations’ artist featured in the lower lounge is Moy Sutherland from the 

Salish Community on the West Coast of Vancouver Island. For Moy, art is very deeply 

rooted in his culture, as he finds it spiritually rewarding. Moy’s personal interests are twofold, 

as he is passionate about both art and anthropology, where both meet on a journey 

into the history of his people - a journey that continually explores the essence of art and 

culture. As a young man he worked in the forests of British Columbia where he always 

found strength and peace of mind. To this day, his culture remains his greatest source of 

inspiration. On this foundation, he utilizes many artistic mediums, such as the paddle; 

however, he is very careful to stay within the traditional rules and values of his culture. 

The subject matter of the ‘eagle’ and ‘raven’ are symbolic references, where the eagle 

represents wisdom and fore-sight and the raven represents a cultural hero, transformer, or 

trickster. Moy’s work is in galleries, museums and private collections across Canada and 

in the United States.

Mark Roth 

“Amber Erosion”, 2010 

Blown Glass 

“Gold Ruby Erosion”, 2010 

Blown Glass 

A Vancouver glass artisan, Mark Roth’s beautiful organic vase is a perfect pop of color to 

lead viewers down the hallway off the porte cochere entrance. Set atop a white plinth and 

encased by plexi this piece, when lit nicely will provide just the right amount of visual 

interest for this small hallway. The rich ruby color and gold blocking gives this piece a 

lovely organic quality while still pairing nicely with the geometry of the Coupland pieces 

in the lobby adjacent to it. Another Roth vase, this one in amber and golds, sits 

comfortably in the custom niche in the luxurious Rosewood suite on the 12th floor as 

well.

BRENT COMBER 

“Shattered Light”, 2010 

Drift wood and Light Source 

At the base of the stairs heading towards Prohibition from the first floor we find a stunning 

piece by renowned west coast artist Brent Comber who works with found drift wood. His 

“Shattered” series embodies the human need to create order out of chaos and conveys the 

idea of energy being released during the exuberant process of creation. 

With this "Shattered Light" sculptural piece, the concept of released energy is taken one step 

further by embedding low voltage LED lights in the small fissures between the sections of 

wood of which these pieces are composed. This creates a luminosity that radiates from within 

the piece, giving the impression that this art is literally bristling with electricity and bursting 

with energy. This beautiful homage to the west coast materials marries light and energy and 

is both organic yet technologically impressive.

DEREK ROOT 

“Untitled - Commission”, 2010 

Encaustic 

As you leave the lounge and head up the glamorous stairway to the second floor the 

viewer is led by a magnificent chandelier and an even more colossal art piece. Yet while 

Derek Root’s encaustic commission is by far one of the largest pieces of the collection it 

remains remarkably subdued. Root evolved artistically and emerged among peers like 

Douglas Coupland who were dubbed ‘the New Romantics’ in the 1980’s as they 

graduated from art school and became a new force destined to put Vancouver on the map 

for contemporary art. Root has exhibited internationally and throughout North America, 

from the Vancouver Art Gallery to Brooklyn’s hub for contemporary art PS1 in New York. 

Like the work of Molinari that hangs in the lounge below, Root has also been heavily 

influenced by the work of the great modernist, Piet Mondrian. But while artists like 

Mondrian focused on the flat planes of the surface, Root’s work is an evolution of that 

concept in that it uses the encaustic medium to play with visual and physical ‘depth’. 

The sweeping movement of the lines up the stairs and the soft elegance of the wax are as 

graceful as that of a beautiful woman as she makes her entrance down a timeless 

staircase.

TAKAO TANABE 

“Erington Alberta Inlet”, 1993 

Acrylic on Canvas 

As we move upstairs we are struck by Takao Tanabe's epic British Columbia landscape 

painting, one of his last large scale pieces available on the market. One of Canada's 

premier talents of the half century, Tanabe's work is very sought after by collectors both 

here and internationally. His travelling retrospective at the Vancouver Art Gallery in 2005 

seemed to spark the latest flurry of buyers and that has not slowed down despite the 

recent economic downturn. Since 2008, his prices have held and have even surpassed 

their retail value at various auctions (Heffel, Christie’s, Sotheby's), which is always an 

indicator of the ‘real’ value of an artist's work. Tanabe also carries considerable weight in 

the art community across Canada. He has been painting for over 60 years and his work is 

part of the collections of the National Gallery of Canada, Tate Gallery in London, 

Vancouver Art Gallery, Art Gallery of Greater Victoria, and Art Gallery of Ontario. He has 

also received many honorary awards and degrees including the Governor General's Award 

for the visual arts. His contemplative landscapes transport the viewer into a reflective 

state of mind and are soft yet potent portraits of the Pacific Northwest. Tanabe’s work is 

certain to accrue in value, both economically and intrinsically. 

Born in British Columbia in 1926, Tanabe's paintings are touched by influences of his 

Japanese heritage that captures Vancouver perfectly as the North American portal to the 

Pacific Rim. This dynamic perspective of Asian influence adds an integral voice to the 

Hotel Georgia collection. The diversity of Vancouver and the myriad of perspectives are 

what make this city so unique and exciting – which is so magically captured in Tanabe’s 

painting.

KARIN BUBAS 

“Mystic”, 2006 

Digital C Print 

Flanking the other end of the pre-function concourse in opposition to Tanabe is another 

unique artistic voice from Vancouver, Karin Bubas. Her work is derived from the 

Photorealism School founded by visionaries such as Jeff Wall, Stan Douglas and Roy 

Arden that pinpointed Vancouver an international hot spot for contemporary fine art 

photographers through the 80's and 90's. 

What makes Bubas' work special and sets her apart from this group is that she has a 

markedly feminine perspective in a school of visual thought traditionally dominated by 

men. This can be seen in her expansive cinematic piece “Mystic”, which is both elegant 

and contemplative. The dreamy landscape compliments Tanabe's tranquilizing painting at 

the opposite end of the space. Both these pieces represent unique artistic perspectives 

through ethnicity and gender while exploring the traditional subject of landscape. As they 

both sit against this large area flooded by light from the many windows, together they act 

as a connection to the natural landscape of the region since the view on the second floor 

offers only cityscape. This play of the continued horizon line from Tanabe to Bubas 

connects these artists and again creates an engaged dialogue between the pieces, 

elevating them from art work hung on a wall to a truly curated experience.

NATHAN BIRCH 

“Cricket Stop”, 2010 


As we move towards the boardroom above the porte cochere and breeze past the ballroom 

entrance we see another play on landscape, Nathan Birch's “Cricket Stop”. Birch treats 

his landscape as a vehicle to express his views on the illusory and ironic aspects of 

representational art. This large scale acrylic on canvas diptych cleverly divides the horizon 

line between the two canvases which flank the ballroom doors. Usually each section is a 

slightly different size and often the pieces are slightly skewed which speaks to his 

commentary that this landscape painting is not a window to the natural world as 

traditionally seen – it is an illusion. Based out of Victoria, BC, Birch is a talented midcareer 

artist who is making a name for himself through his beautiful large scale oil 

painting of hyper realistic scenes. The play on light, line and richness of color sets a tone 

of timeless elegance as guests enter the ballroom.

GEOFFREY HUNTER 

“Folksway Study #3”, 2007 

Oil on Canvas 


Oil on Canvas 


Oil on Canvas 


Oil on Canvas 

As we move through the main concourse of the second floor we find an exciting emerging 

Canadian artist, Geoffrey Hunter, who lives and works in Calgary. This “Folksway Study” 

series of four pieces is an exploration of the relationship of digital media and painting 

through texture, color and surface. There are two pieces here on the second floor and two 

pieces that have been placed in the first floor lounge/bar. 

This concept of exploring technology through the very traditional medium of oil on canvas 

offers an interesting commentary on the fusion of the richness of the hotels interiors on 

the second floor with that of the function of these areas. The color palette is fitting to the 

space as it is not too jarring, while the rich texture of the oils and compositional variety 

makes these four canvases engaging to the viewer in this elegant space.

MARK MULLIN 

“A Gathering of Things”, 2004 


“Matter Folded Tight”, 2004 


“Crawl Space”, 2007 


Mark Mullin is another emerging artist whose work sits outside the meeting rooms on the 

south side of the ballroom. Also from Calgary, Mullin completed his MFA at Montreal's 

Concordia University and now teaches at the University of Alberta. His work is a great 

investment for the future and many critics are deeming his work to increase in value over 

the long term. 

Mullin’s interest in art lies in the investigation of boundaries between representational 

and abstract, where much of the detail appears luxuriously organic in form only to be 

redirected as an abstract element when the canvas is viewed as a whole. His work is 

dense and pulls the viewer in to admire his thick brush strokes and elegant geometric 

patterns that contain so much tension and energy that they seem to continue to move 

over its static two dimensional medium.

ROBERT CADOTTE 

“Relentless”, 2010 

Mixed Media on Canvas 

“Vacation”, 2010 

Mixed Media on Canvas 

In the large meeting room at the north east corner we find two of Robert Cadotte's 

incredible abstract mixed media pieces. Cadotte was educated at Montreal’s School of Art 

and Design and his work is part of many significant public and private collections 

throughout Canada. 

With expressive brushwork, high colour contrast, and a surreal quality of light - these are 

perfect pieces to both enliven and ground this large meeting room. His emphases on reworking 

his canvases have an almost nostalgic quality that speaks to the history of the 

property and the idea of memory. Cadotte also considers his work abstractions of 

landscapes, again tying in with the other interpretations of the landscape that we see in 

Tanabe's, Buba’s and Birch's work.

SONNY ASSU 

“iDrum: Consumption”, 2010 

Acrylic on Hide Drum 

“iDrum Classic (Nude) # 2”, 2010 


“Hamatsa Calling”, 2010 


“Commission”, 2010 


“Spawned”, 2010 

Acrylic on Panel 

One of the most exciting young artists that we have included in this collection is Sonny 

Assu. He is regarded as the next young vanguard and is considered to be in the same 

company as artists like Brian Jungen. On this note, Assu continues to push the 

boundaries of contemporary art by challenging the general perception of Aboriginal art. A 

multi-disciplinary artist, Assu merges Northwest Coast Aboriginal iconography with the 

aesthetics of popular culture to challenge social and historical values that we face on a 

regular basis. 

His work has been exhibited across North America and he is a fast-rising star. The works 

shown in the meeting rooms are from his painted drum series titled 'idrums' are a 

commentary on the fusion of new technology with traditional First Nations’ symbolism. 

There are a piece each from this series featured in the Rosewood and Lord Stanley Suites 

on the 12th floor. Their pop of colors and clean graphic lines are reminiscent of Apple's 

infamous branding while the composition and motifs are distinctly aboriginal. Assu's is 

another distinct voice in the West Coast Art Community that we feel is important to 

include in this collection. Although we have incorporated traditional First Nations art on 

the first floor, Assu's work on the second floor shows the evolution of this style from the 

perspective of a young artist questioning his notion of identity, mixed ancestry and the 

discourse of consumer society. 

The long house piece in the corridor towards the Bowden Room, titled “Spawned”, 

follows in the same aesthetic style as the drums, and again embodies a modern graphic 

piece of art, clean lines and pops of bold color. This striking piece addresses the function 

of the space, just as Assu is commenting on the idea of traditional communal gatherings 

of the First Nations’ people; these pieces are displayed in areas of the hotel where ideas 

and conversation are shared.

HOLGER KALBERG 

“Apparat #5”, 2010 

Oil on Canvas 

Holger Kalberg was born in Germany and currently lives and works in Vancouver. He 

graduated in 2001 with a BFA from the Emily Carr Institute in Vancouver, and in 2007 

completed his MFA from the Chelsea School of Art in London, England. Kalberg’s work 

appeared in Carte Blanche 2, and is featured in the RBC Painting Competition’s 10-year 

anniversary book. “Apparat #5” comes from a series that shows the continued evolution 

of his work. He initially began painting very abstract bands of color that is representative 

of an in-depth study of the digital world in paint. From there, he moved onto more 

traditional figurative landscapes, still in the same color waves that constitute his style. 

This new work, “Apparat #5”, is a combination of Kalberg’s two previous bodies of work 

in that he is now exploring this Surrealist landscape, encompassing both the digital works 

of abstract geometry and the strong figurative line of a traditional landscape. In this 

sense, this painting is a perfect addition to be nestled in between the vast Tanabe and 

Nathan Birch landscapes in the continuation of that theme of the horizon line. “Apparat 

#5” also mirrors the color blocking and geometry of the Derek Root piece it faces coming 

up the stairs. The muted colors illustrated on Kalberg’s painting are a perfect balance 

and add to the sophistication of the art collection on the second floor.

MARINA RESHETNIKOVA 

“Sire”, 2010 

Soapstone and Stainless Steel 

As we enter the spa we see another sculptural piece that is of a much more delicate nature. 

Marina Reshetnikova is a Toronto based visual artist originating from the Republic of 

Kazakhstan. She received her MFA from Almaty State Theatre and Fine Arts University in 

Kazakhstan and has exhibited her sculptures across Canada, Russia, Kazakhstan, Kyrgyzstan, 

Bulgaria, and Ukraine. Reshetnikova's works are included in the University of Montreal virtual 

museum - Musee Asie Centrale located in Quebec and her sculptures have recently been 

included in the Canadiana Fund, part of the Crown Collection in Ottawa. 

Her piece titled "Sire" plays with luxury materials of marble and bronze in a simple and 

elegant form. Her work, like Comber's, is decidedly organic in form; however, due to the 

luxury of her materials it is almost more reminiscent of jewellery.

BERNADETTE PHAN 

“Trippy I”, 2010 


“Trippy II”, 2010 


“Trippy III”, 2010 


Bernadette Phan is a local Vancouver painter who completed her MFA at Concordia in 

Montreal. Originally from Vietnam, she immigrated to Canada and became a citizen in her 

20's. Her "Ovalicity" series is composed of a soft color palette of sporadic points and circles 

on the canvas, reminiscent of distant aerial satellite shots. This sense of floating observation 

and the soft color palette of the series brings calmness to a space where the guest is 

experiencing a relaxing treatment, while the paintings still maintain energy compositionally 

that engages and pulls the viewer along the hallway. 

Reminiscent of Monet's water lilies but with a decidedly contemporary and almost tech-like 

approach, these pieces were commissioned specially for Hotel Georgia. Phan used her latest 

color palette with vibrant pops of neon oranges and yellows amongst the soft pastels.

PHYLLIS SCHWARTZ 

“Laminaria, Seashells, Bladder-Wrack”, 2010 

Lumen Print 

Another young artist to be featured in the spa area is Phyllis Schwartz, an Emily Carr 

University of Art & Design graduate and award winner in 2010. This lumen print is developed 

using a photogram technique where physical objects are laid on photographic paper and 

exposed with UV light for hours to create an original piece that is both ethereal and 

completely unique. This technique has a long tradition in the history of photography – some 

of the first known photographic images made were photograms. William Henry Fox Talbot 

called them photogenic drawings and they played a prominent role in the oeuvre of Man Ray 

(rayographs), Laszlo Moholy-Nagy and Anna Atkins. 

Schwartz’s work is both soft and dream-like, as she combines the photogram technique with 

other photographic processes such as toning and extreme exposure. The outcome is an image 

that maintains an elegant accent for the serenity of the spa's environment.

4th Floor Terrace - "Reflections" 

Farmboy Fine Arts 

“Flux”, 2011 

Powder-coated Aluminum 

The radial aluminum sculpture on the 4 th 

floor was designed to complement and enliven the 

cool and tranquil outdoor terrace. The piece mimics the horizontal slats of the central seating 

area but then takes this rigid organization and literally twists into a dynamic organic shape. 

The sculpture is playful and emphasizes the fluidity of the water with dancing reflections 

throughout the sleek black pool it emerges from. The spiral of the piece allows guests to 

move around the work and experience completely different perspectives and the spacing of 

the rods usurps a level of transparency and lightness. 

The bright yellow color adds vibrancy to the calming atmosphere of the Rooftop Garden and 

evokes energy to this area, especially in contrast to the sometimes grey and rainy days in 

Vancouver. While the 4 th floor is a relaxing oasis tucked away in the middle of an urban 

center, “Flux” reminds its guests of the vibrant cosmopolitan setting of Hotel Georgia and its 

unique dedication to fine art.

Rosewood Hotel Georgia Art Collection - Rosewood Hotels & Resorts

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