Edward Burtynsky: Unearthed features newly released photographs from the Democratic Republic of the Congo. It is one of several locations Burtynsky has selected to focus on for his forthcoming project, titled Mining: For the Future. In order to reach net zero in the context of climate change, there is an increased demand for minerals such as lithium, copper, and cobalt which has resulted in a need for an acceleration in mining. Due to aircraft restrictions in the DRC, Burtynsky used a drone to capture the copper mine's remarkable colour and scale. Tiny figures can be seen upon close inspection in some of the images. They are independent miners that are sifting through the dry tailings for trace amounts of cobalt which they sell in what is a complex and unregulated supply chain that ultimately lands in cell phones, among other devices, across the globe.

Also included in the exhibition are new releases from the United States and Canada. In 2024, Burtynsky visited Olympic National Park, a rainforest in Washington State. One year prior, he shot the Coast Mountains in British Columbia from the vantage point of a helicopter. These examples of pristine nature are intended to inspire hope while also serving as a counterpoint to his photographs of human intervention. They expand on his exploration into our complex and evolving relationship with the natural world.

Rencontres Émotionnelles is Moses Salihou’s third solo exhibition at the gallery. Inspired by a recent trip to Cameroon, where he emigrated from over a decade ago, Rencontres Émotionnelles is Moses Salihou's most personal body of work to date. Each painting is a reflection of time spent in his hometown of Maroua, surrounded by his family, friends, and community. Salihou’s new paintings feature multiple figures positioned together, expanding his signature abstract-figurative approach to explore the richness of kinship and connection. Salihou describes a whirlwind of attending a cycle of funerals, weddings, birthdays, and dinner parties, moments of gathering where pain and joy coalesce. The paintings convey an overwhelming sense of collectiveness. 

Salihou also takes care to depict moments of quiet intimacy, like the act of braiding hair or sharing an embrace. Unlike previous bodies of work, Rencontres Émotionnelles includes paintings of specific members of Salihou's family, most notably a pairing which depict his mother and father. 

In the background of many of the works in Rencontres Émotionnelles is a series of repeated, horizontal and vertical silvery-white lines arranged in a grid-like pattern. Salihou describes them as references to the scar markings that members of his tribal group use to adorn their faces. They are considered marks of beauty and symbols of belonging. The visual result is a woven textural effect that creates a rhythmic appearance against the dark backdrop.