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Bonnie Jordan Jean C. Morrison Setsuko Pirocbe LEFT: Pierre wiping plate. 2000. College Coupey May Capifano RIGHT: Portion Piroche of print by Setsuko v i s i o n of L o w e r L o n s d a l e is that of a p o r t a l t h r o u g h t i m e : past, p r e s e n t , and f u t u r e . T h r o u g h h e r w o r k , J o r d a n has e s t a b l i s h e d a r e c o r d of t r a n s i t i o n -- f r o m t h e h i s t o r i c images and uses of t h e quay and its s u r r o u n d i n g land t o its p r e s e n t o p e r a t i o n s . T h i s interpretation merges the evolution of t h e site and its o p e r a t i o n s i n t o a single v i s i o n that lends itself t o differe n t i n t e r p r e t a t i o n s o n many levels. Paralleling Jordan's i n t e r p r e t a t i o n , t o varying degrees, is the w o r k c r e ated by Jean C . M o r r i s o n . M o r r i s o n has v e n t u r e d t o capture the serenity and grace of G r a n d B o u l e v a r d amongst its changing e n v i r o n m e n t . A N o r t h V a n c o u v e r landmark, the b o u l e vard has seen many d e v e l o p m e n t s since its beginnings. D e s p i t e these changes, the site has c o n t i n u e d t o be a space f o r c o m m u n i t y gatherings and interaction. M o r r i s o n ' s analysis of this space is that of a c o n t i n u o u s and harm o n i o u s path t h r o u g h time. S e t s u k o Piroche's a p p r o a c h t o h e r subject of M a p l e w o o d F a r m is based o n the e n v i r o n m e n t itself; the inspirat i o n f o r h e r c h o s e n l o c a t i o n is n a t u r e . Piroche's believes that the animals, p e o p l e , and natural s u r r o u n d i n g s of M a p l e w o o d F a r m b r e a t h e life into t h e site and into h e r w o r k . C a p t u r i n g the pastoral nature of this e n v i r o n m e n t w i t h its freshness and vitality is t h e goal of Piroche's t r a n s l a t i o n o f the site. In sharp c o n t r a s t t o Piroche's site i n t e r p r e t a t i o n is Joan Smith's p r i n t , based o n Lynn C a n y o n Park. S m i t h v i e w s t h e park as a virtually u n d i s t u r b e d i c o n of N o r t h V a n c o u v e r . T h e stimulus f o r Smith's a r t w o r k c o m e s f r o m t h e m e d i t a t i v e sense and t h e escape f r o m everyday life that she e x p e r i e n c e s w h i l e in the p a r k . T h i s s y m b o l has b e e n e x e c u t e d as a p a t h way t o serenity, a place of c o n t e m p l a t i o n and f o r t i t u d e that seems impervious to the customary bustle of the u r b a n N o r t h S h o r e environment. Ross Penhall's i n t e r p r e t a t i o n p a r allels Smith's in many ways. Penhall's r e n d i t i o n of C a r i s b r o o k e Park is about journey.The expedition involves t h e a r t i s t leading t h e v i e w e r t h r o u g h t h e unfamiliar t e r r i t o r y of the park. Penhall, t h r o u g h his a r t , e n d e a v o u r s t o c a p t u r e a seemingly o r d i n a r y path that e x t e n d s t h r o u g h t h e park and make it e x t r a o r d i n a r y . Penhall views this locale as a space f o r p i l g r i m a g e -- a place f o r i n t r o s p e c t i o n and c o n t e m p l a t i o n . T h e i n t e r p r e t a t i o n of C a t e s Park is based u p o n h i s t o r i c a l c u l t u r a l investigation. D a m i a n G e o r g e v i e w s his site as alive and part of his past, p r e s e n t , and f u t u r e . C a t e s Park has u n d e r g o n e many changes and events o v e r t i m e , including the u n c o v e r i n g of an A b o r i g i n a l burial s i t e . T h i s d i s c o v ery, f o r G e o r g e , led t o his o w n e x p l o r a t i o n o n t h e uses of the area.