As the polar bear pit is an exterior space, performance can only seriously be considered a option during the summer months. To activate the space for 12 months a year it is proposed to have a rotating sculpture show every year from October to March.

2013 is the 125th anniversary of Stanley Park and the celebrations that will happen in the park are perfect format to re-engage the public with polar bear pit. Collaborating with sculptors Marina Glynn and  Ian Rhodes the TUK project’s first official public event will be to turn the space into a “sculpture park”.


Marina Glynn

Marina Glynn’s art practice investigates issues of materiality, space, and counter form. She strives to challenge how we commonly view sculpture by questioning the importance of object making and the environment that it invades.

During her making process, the relationship between sculpture and space is critical. By fabricating territories both inside and around her works, she highlights the fact that her sculptures interiors are extensions of the space that surround its solid existence. Together, the tangible and the void work with one another in order to create one coherent idea.

Currently Marina resides in Vancouver BC. Since graduating from Emily Carr University in 2011, she continues to push boundaries by challenging the properties we associate with traditional sculpture.

“What I make is not any more important than the space that it exists in. The truth is; the space came first and I must respect it”.


Ian Rhodes

All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer. Art is an action against death. It is a denial of death.

Jacques Lipchitz

In 2008 Ian Rhodes was diagnosed with stage 3 cancer and given a 50% chance of survival. He’d been making sculpture for over twenty years but from that point on his practice changed irrevocably, forever. These current works draw from this experience in an attempt to contextualize in the physical, the effects both on him as a person and at a more intense, visceral level, the inevitable emotional neurosis within.

The work is a constant evolution from one piece to another, using the artist as the primary source of ideas and information. ‘Apoptosis’, for example, references his own dimensions as the construct. His weight and height are applied using the golden ratio to determine the sculptural parameters of the work. An attempt to bring order to chaos, light to dark and the potential for a formulaic solution.

His empathy leans clearly towards an individual staring into a future it neither wants nor understands.

Ian holds a B.A and M.F.A from Staffordshire University In England and teaches metal sculpture for Continuing Studies students at Emily Carr University.