Presentation House Gallery
The Polygon Gallery
333 Chesterfield Avenue
North Vancouver, BC V7M 3G9

Jack Pierson, Vivian Westwood

Pigment print on archival watercolour paper
48 x 32 inches / 122 x 81.2 cm

Published in collaboration with
Bywater Bros. Editions

Released in conjunction with the artist book Tomorrow’s Man, Lynn Valley 9.

5000 CND

  • Jack Pierson, Vivian Westwood, 2013, 48 x 32 inches, pigment print on archival watercolour paper

Derek Sullivan, Box Set of 40 Volumes

40 versions
24 pages, softcover
6.5 x 4.5 inches / 11.4 x 16.5 cm
ISBN 978-0-920293-88-1
Edited by Roger Bywater
Designed by Roger Bywater and Derek Sullivan

Published in collaboration with
Bywater Bros. Editions

With the proliferation of personal digital devices in contemporary society one has seen an explosion of imagery flooding the media landscape. In today’s interconnected virtual universe every aspect of human existence is documented to such an extent that the boundary between private and public have become all but indiscernible and subjects that would have seemed unworthy of a simple snapshot in the past (like one’s meal) are mainstream topics on popular photo sites like Instagram and Facebook.

Exploring this new reality, Toronto artist, Derek Sullivan has created a set of 40 different books featuring imagery pulled from the web. What makes this project interesting is not so much the imagery itself, which encompasses the full gambit of just about everything imaginable, but Sullivan’s selection process. Rather than arrange photographs around a particular theme or subject matter Sullivan instead chose to feature images that had an identical IMG-.JPG photo tag number. Anyone who has taken a digital picture will be familiar with this photo numbering system; it’s the default program used on all iPhone and Canon digital devices. Basically every image that flows through these devices is automatically assigned a number starting with IMG-0100.JPG.

Working in a format somewhat akin to the devices themselves Sullivan chose only images from the web bearing the IMG-0100.JPG identifier for his first book, IMG-0101.JPG images for his second book, IMG-0102.JPG for the third, and so on, working his way through the IMG-.JPG numbering chain until he reached IMG-0139.JPG, which his last book in the series.

This uncanny editorial approach transforms the imagery into something akin to pure poetic data. Removed from their normal habitat for dating services, promotional announcements, and the like, Sullivan’s subtle manipulation begins to reveal a larger reality that extends beyond the picture frame. A fascinating study of photography today, Sullivan’s Lynn Valley 8 provides a rare glimpse into the larger societal compulsions that fuel the creation and dissemination of digital imagery over the internet.

This edition includes the complete set of all 40 Lynn Valley 8 books, plus an enamel plaque designed by the artist, all inside a embossed linen slipcase.

950 CND


Zhang Dali, A Second History

Set of 2 light jet prints on archival paper
20.5 x 14 inches / 52 x 35.6 cm (each)

Published in collaboration with
Bywater Bros. Editions

Released in conjunction with the artist book A Second History, Lynn Valley 7

In his book A Second History, Beijing-based artist, Zhang Dali, examines the widespread use of photographic manipulation carried out by the Chinese government during the regime of Mao Tse-tung (1949-76). Using a compare and contrast format this artist book presents a chronological sequence of original, unmodified images together with their doctored doppelgangers which were manipulated in party-run, photo labs in the 50s, 60s and 70s for the Chinese propaganda market.

Altered histories are all around us, embedded in our lives to such an extent that it’s become difficult to imagine what reality really is. In today’s era of 24 hour news coverage and its associated “spin” the idea of getting to the “truth” of something seem almost futile, however with projects like A Second History it is now possible to see a small glimpse of historical media manipulation laid bare.

Scanning the spreads one can see the modifications made by the Chinese censors: In some images key people have been erased, while in others people have been added. Backgrounds have been modified and written slogans on flags have been altered. In other parings the edits appear almost unnoticeable as seen in the spread entitled The Sun Comes to the Kucong People, which features images of women workers harvesting hay in a field. The undoctored image, struck from the original negative, shows a young child peeking out from behind a cluster of busy workers… a detail the censors felt a need to remove. The image of a hapless youngster among robust agrarian workers was obviously at odds with the official party line at the time so the child ended up on the cutting room floor.

Unlike his Chinese forbearers who used photography as a tool for indoctrination, Zhang’s use of the medium is more subjective… the core of his presentation is the manipulation itself, with all its associated political, social and artistic implications.

1500 CND

  • A Second History: Zhang Dali

Roe Ethridge, Old Fruit

Ink jet print on archival paper
12.5 x 10 inches / 31.7 x 24.4 cm

Published in collaboration with
Bywater Bros. Editions
October 2010

Released in conjunction with the artist book Lynn Valley 6 (with Cheyney Thompson)

Roe Ethridge (American, b. 1969) is widely recognized for his exploration of a fertile territory between commercial and “art” photography. Ethridge often borrows images already in circulation, including outtakes from his own commercial work. “Everything seems to end up in a magazine sooner or later,” Ethridge has said. For example, Old Fruit was first featured on the cover of the 2010 photo issue of Vice magazine.

In his collaborative work for Lynn Valley, Ethridge drew upon the descriptive power of photography and the ease with which images are now accessed, duplicated, and recombined. His visual fugues juxtapose and collage images, for example through a superimposition of a plain white plate from the website of Bed, Bath & Beyond onto a checkered Comme des Garcons scarf. Combining and recombining already recontextualized images, Ethridge at once subverts the photograph’s original roles and renews their signifying possibilities.

1500 USD

  • Old Fruit, 2010

Cheyney Thompson, Untitled (scarf)

Ink on 100% pure silk charmuse, encased inside
an embossed card box
36 x 36 inches / 91.5 x 91.5 cm

Published in collaboration with
Bywater Bros. Editions

Utilizing Albert Munsell’s system of complementary colour pairs, Cheyney Thompson (American, b. 1975) has created five scarves for the Lynn Valley artist book series released in conjunction with Lynn Valley #6.

Thompson’s diverse works explore the artistic process, and his painting, sculpture and installation work are immersed in ideas of their own conception and realization –from production, to exhibition, to the eventual reception by the viewer. In a recent series, for example, Thompson derived imagery for a series of large-scale paintings from the digital scan of their linen support, a strategy of producing art from the inside-out.

His works have recently been presented at Sutton Lane in Brussels as well as Daniel Buchholz Gallery in Cologne, and along with these two galleries he is represented by the Andrew Kreps Gallery, New York.

Unlimited edition: 150 CND
Lettered edition: 900 CND

  • Untitled (Scarf), 2010

Dick Oulton, Hairstyle Portrait #5

Inkjet c-print
22 x 15 inches / 55.8 x 38.1 cm

Published in collaboration with
Bywater Bros. Editions
November 2008

Richard (Dick) Oulton (1918-2000) was a commercial photographer who worked out of Vancouver from the late 50s to the mid 80s. He operated under a variety of names–Dick Oulton Studio, Dick Oulton Photography and Ricardo Photographic Services–advertising services for weddings, portraits, passports, photographic restoration and commercial photography. Located in downtown Vancouver, the studio was also his home until 1994. A bachelor who had an eye for attractive ladies and a flair for fashion, Oulton continued to photograph until his death.

With no heirs, the bulk of Richard Oulton’s image collection was rescued by friends and subsequently came to the attention of Presentation House Gallery. A sample of his work was included in the 1994 exhibition, “The Just Past of Photography” in Vancouver, but the bulk of his archive, which contains thousands of unprinted negatives, has yet to be seen. It is a rich social and historical document of middle class life in Vancouver. Unedited with few ‘final’ images, the archive also reveals the photographic processes, client expectations, production methods, and obsolete technology of the period.

Oulton’s commercial assignments took him out on location to document businesses and events including restaurants, store displays, parades, nightclubs, boxing matches, promotions, countless weddings, and beauty contests – however his forte was portraiture and glamour shots, usually of attractive young women.

This selection of Dick Oulton’s photographs, which reveals the commercial and vernacular imperatives of his production, showcases the idiosyncratic power of his images. Restricted to particular genres and conventional formats, his pictures indicate a stylized sensibility and personal vision.

700 CND -unframed

  • Untitled (Hairstyle Portrait #5)

Annette Kelm, Untitled

10 x 8 inches / 25 x 20.8 cm

Published in collaboration with
Bywater Bros. Editions
May 2008

The 4th installment of the Lynn Valley artist book series features an untitled work by the Berlin artist Annette Kelm. Using a detailed studio-shot format reminiscent of advertising photography the book displays six versions of a hat that the artist bought while traveling through New York.

Critic Kirsty Bell describes Kelm’s unique photographic approach: “Her precise, carefully composed, well-lit images, often shot with a large-format camera, luxuriate in surface and clarity of detail while fitting neatly into standard photographic genres: still life, portraiture, landscape. The things they present definitely exist; there is no doubt about that. But something about their brightness seems not quite right. As self-evident as her images appear, they are undercut with a strangeness that questions not only the purpose of the objects, but also the nature of their representation.”

1000 CND

  • Untitled, 2008

Jonathan Monk, The reason why I am here is the reason why I am here

Original gatefold LP (You are the quarry by Morrissey, published by Attack/Sanctuary Records in May 2004) with a silkscreened addition on the front cover and a mirror addition (mounted) on the inner right gatefold. A copy of Monk’s book is also included (inserted inside record sleeve).

12.25 x 12.25 inches / 31.5 x 31.5 cm (folded)
12.25 x 24.5 inches, 31.5 x 63 cm (unfolded)

Published in collaboration with
Bywater Bros. Editions
June 2007

Jonathan Monk (b. Leicester, England 1969), explores legacies of conceptual art practice in installations, photography, film, sculpture and performance, often marrying his interests in canonical artworks from the 1960s and 70s with wry references to personal autobiography.

The reason why I am here is the reason why I am here (2007), is a 48-page bookwork featuring crude amateur photographs of pop singer Morrissey performing at a recent concert in Berlin. Taken by an audience member, the photographs are mirrored on each verso page of the publication. The result acts as a fan’s tribute to legacies drawn from 80s popular music and 60s visual art, while creating a series of photographic “Rorschachs” whose formal inventiveness grows from the simplicity of their source.


  • Jonathan Monk

Johannes Wohnseifer, Untitled (Kleenex Mathematics)

Unique collage (29 versions), mounted inside a clear plasic frame, included with a copy of Wohnseifer’s book Kleenex Mathematics / Lynn Valley 2, all encased inside a card and linen solander box with stamped text on front.

7-7/8 x 9-7/8 inches / 20 x 25 cm (collage)
11-1/8 x 8-7/8 x 2-1/8 inches / 28.3 x 22.7 x 5.4 cm (closed)
11-1/8 x 19-3/4 x 2-1/8 inches / 28.3 x 50.3 x 5.4 cm (open)

Published in collaboration with
Bywater Bros. Editions
January 2007

One of twenty six unique collages, mounted inside a clear plastic frame, included with a copy of Wohnseifer’s book Kleenex Mathematics / Lynn Valley 2, all encased inside a  linen solander box with stamped text on front.

1500 CND


A: Montserrat stride thoughtful bagel

B: Fighters on a plane, fighter plane

C: Ignored mainstrean media, Mainstrean media ignored

D: Video game, exposed crack, nintendo wii

E: Grennfield, burnishes, difficult, retention

F: Deanna predelivers brief nutmeat, predelivers

G: Removed infections upgraded, latest machine,
upgraded infections

H: Booker psychs lively customariness

I: Packaging notice providing placed reasonable.

J: Our thus integrate people high tech yet touch a? integrate people

K: No questions asked yellow banana the this has how up, live it some

L: Chancellorsville, confonds, charming, uvula

M: Suffered quickly result, either unable, update

N: Donna endows fuzzy antimacacassar

O: Doing damage, attacking spreads, music spread passwords, programs, worms

P: Making patches, like camps, virus trend lab arms

Q: Probably highly, feature since essentials, damages loss goodwill, commercial losses

R: Make it hard and big!

S: Feel better and have fun this, Feel Better and have fun this summer

T: Hohenzollern pensions envious balkiness, Hohenzollern, Hohenzollern

U: Spanish franais, french hebrew editors, netscape own following?

V: Down favor response

W: Duracells resupplys broken dragonfly, Broken

X: Add 4” to your dick!!!

Y: I don’t care why your ramrod is so small but 75% of women do!

Z: Be King of the Pack with the biggest dick around!

  • Johannes Wohnseifer, Kleenex Mathematics, 2007

  • B