Early Development: Born in Ontario, I moved to Vancouver in 2020. A persevering interest in Art and Philosophy had been a saving grace in the spaces I was raised, dedicating myself to understanding perspective and form before high school. The first painting I sold was for $1000. This was between grade 8 and 9, after winning a competition for $100 compensation which was geared towards indigenous cultural youth research. The first graphics commission I landed was prior within the same year, a logo and hide application for a big drum circle. I dedicated this money to buying a surface pro to begin digital media. High School Direction: Reading frequently, in a summer residential arts camp between grade 9 and 10, it was The Agony and The Ecstasy by Irving Stone, which further inspired methods to study Classical Art systems. By grade 11 I had completed all available graduate visual art and graphics communication courses, group lead for first fully youth organised graduate art show of DSBN. My interests and writing had me recommended and became one of limited youth selected from Niagara region to the GTA to participate in Revitalising the Art and Science of Star Knowledge culture camp, featuring lectures and discussions with Indigenous elders, NASA scientists, creative culture keepers, and traditional story tellers from around the world. During the same period I began the painting titled Branch of Human Light, which can be viewed on my website. By graduation I had acquired and completed a competitive co-op position as a graphic designer for my school board, which also included being a print technician assistant; I made many vinyl, magnet, paper, and digital products for a great variety of requests, from very start of visual conception to end distribution quality checks. Current Status: All of this had been achieved while being Ward of the State throughout high school, aiming to create a better path for my brother and for my mother. The summer following I completed a logo commission for the first iteration of Mikisew Cree's Child and Family Services Agency, which when they underwent new management and rebranding for new facilities, they returned to me for redesign, deciding to keep the general design theory I provided the first time regardless. During my studies at UBC, I have participated in a number of local opportunities such as through Indigenous vendor events, Makers Market, James Black Gallery, Queer Arts Festival, Arts Whistler, and UBC's AHVA Department. Despite these efforts, the greatest pain of it all which I have had to build up from again, had been the passing of my mother in 2021. Today, I align my ambitions to eventually provide resource, opportunity, and potentially new tools and systems to bring power and awareness to skilled and dedicated artistic community, otherwise while maintaining a dedicated interdisciplinary studio practice.

Caden Lane

Early Development: Born in Ontario, I moved to Vancouver in 2020. A persevering interest in Art and Philosophy had been a saving grace in the spaces I was raised, dedicating myself to understanding perspective and form before high school. The first painting I sold was for $1000. This was between grade 8 and 9, after winning a competition for $100 compensation which was geared towards indigenous cultural youth research. The first graphics commission I landed was prior within the same year, a logo and hide application for a big drum circle. I dedicated this money to buying a surface pro to begin digital media. High School Direction: Reading frequently, in a summer residential arts camp between grade 9 and 10, it was The Agony and The Ecstasy by Irving Stone, which further inspired methods to study Classical Art systems. By grade 11 I had completed all available graduate visual art and graphics communication courses, group lead for first fully youth organised graduate art show of DSBN. My interests and writing had me recommended and became one of limited youth selected from Niagara region to the GTA to participate in Revitalising the Art and Science of Star Knowledge culture camp, featuring lectures and discussions with Indigenous elders, NASA scientists, creative culture keepers, and traditional story tellers from around the world. During the same period I began the painting titled Branch of Human Light, which can be viewed on my website. By graduation I had acquired and completed a competitive co-op position as a graphic designer for my school board, which also included being a print technician assistant; I made many vinyl, magnet, paper, and digital products for a great variety of requests, from very start of visual conception to end distribution quality checks. Current Status: All of this had been achieved while being Ward of the State throughout high school, aiming to create a better path for my brother and for my mother. The summer following I completed a logo commission for the first iteration of Mikisew Cree's Child and Family Services Agency, which when they underwent new management and rebranding for new facilities, they returned to me for redesign, deciding to keep the general design theory I provided the first time regardless. During my studies at UBC, I have participated in a number of local opportunities such as through Indigenous vendor events, Makers Market, James Black Gallery, Queer Arts Festival, Arts Whistler, and UBC's AHVA Department. Despite these efforts, the greatest pain of it all which I have had to build up from again, had been the passing of my mother in 2021. Today, I align my ambitions to eventually provide resource, opportunity, and potentially new tools and systems to bring power and awareness to skilled and dedicated artistic community, otherwise while maintaining a dedicated interdisciplinary studio practice.

Available to hire

Early Development:

Born in Ontario, I moved to Vancouver in 2020. A persevering interest in Art and Philosophy had been a saving grace in the spaces I was raised, dedicating myself to understanding perspective and form before high school. The first painting I sold was for $1000. This was between grade 8 and 9, after winning a competition for $100 compensation which was geared towards indigenous cultural youth research. The first graphics commission I landed was prior within the same year, a logo and hide application for a big drum circle. I dedicated this money to buying a surface pro to begin digital media.

High School Direction:

Reading frequently, in a summer residential arts camp between grade 9 and 10, it was The Agony and The Ecstasy by Irving Stone, which further inspired methods to study Classical Art systems. By grade 11 I had completed all available graduate visual art and graphics communication courses, group lead for first fully youth organised graduate art show of DSBN. My interests and writing had me recommended and became one of limited youth selected from Niagara region to the GTA to participate in Revitalising the Art and Science of Star Knowledge culture camp, featuring lectures and discussions with Indigenous elders, NASA scientists, creative culture keepers, and traditional story tellers from around the world. During the same period I began the painting titled Branch of Human Light, which can be viewed on my website. By graduation I had acquired and completed a competitive co-op position as a graphic designer for my school board, which also included being a print technician assistant; I made many vinyl, magnet, paper, and digital products for a great variety of requests, from very start of visual conception to end distribution quality checks.

Current Status:

All of this had been achieved while being Ward of the State throughout high school, aiming to create a better path for my brother and for my mother. The summer following I completed a logo commission for the first iteration of Mikisew Cree’s Child and Family Services Agency, which when they underwent new management and rebranding for new facilities, they returned to me for redesign, deciding to keep the general design theory I provided the first time regardless. During my studies at UBC, I have participated in a number of local opportunities such as through Indigenous vendor events, Makers Market, James Black Gallery, Queer Arts Festival, Arts Whistler, and UBC’s AHVA Department. Despite these efforts, the greatest pain of it all which I have had to build up from again, had been the passing of my mother in 2021. Today, I align my ambitions to eventually provide resource, opportunity, and potentially new tools and systems to bring power and awareness to skilled and dedicated artistic community, otherwise while maintaining a dedicated interdisciplinary studio practice.

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Work Experience

Curator at University of British Columbia
January 1, 2026 - April 1, 2026
One of a team of nine who organized the undergraduate and graduating 2026 exhibitions of UBC. Helped scheme and scavenge donations and supported exhibition execution. Served as lead graphics designer, creating the brand visual identity for both shows in coordination with the team, UBC bureaucracy, and exhibiting students. Balanced many competing opinions and preferences, resisting purely trend-driven styles to achieve a simplified yet richly developed design direction.
Graphic Designer at Mikisew Awasis Kisiwatsowin Society
April 1, 2025 - June 1, 2025
Re-hired by new management to redesign Mikisew's social services agency, MAKS. Worked through an ongoing feedback loop with elders and delivered design outputs on schedule. Aligned the design concept and color with motifs used across Mikisew companies and related agencies while preserving unique charm and balance of the original system created in 2020.
Technician Assistant at University of British Columbia (UBC Art History and Visual Arts [AHVA] departments)
August 1, 2023 - April 1, 2024
Technician assistant for the wood and metal shop supporting AHVA. Responsibilities included creating, repairing, installing, and de-installing projects/resources; advising students and faculty on practical methods and safe tool/material usage; welcoming and directing visitors; and cleaning. Trained in workplace safety, WHMIS, art handling, public speaking/demonstration, and shop operations including power tools (mitre/band/metal cutting saws, drill press, orbital/oscillating sanders), air-pressure equipment (sand blaster, nail gun, staple gun), and tool sharpening. Highlights included proposing and accomplishing a wood steamer to support student dexterity and assisting with exhibition management.

Education

Bachelor's degree (Arts) at University of British Columbia
September 1, 2020 - July 11, 2026
High school diploma or GED at Governor Simcoe Secondary School
December 1, 2017 - June 1, 2020

Qualifications

WHMIS Certified
October 10, 2021 - July 10, 2026

Industry Experience

Education, Media & Entertainment, Non-Profit Organization, Professional Services
    Short Bio Vid for UBC's Chrysalis Exhibition
    Programs utilised: Reaper Camtasia Premiere Pro Photoshop Featured work in the video: Leveret Harvest Medicine Animation Lands of Morpheus Where the Owl Lands I originally provided a soundtrack draft for a longer format higher energy video, and was requested to make the video specifically one minute and calm. Recomposed piano ambience by improvision to a heavily clipped monologue adjusted to overlay more as ASMR with subtle panning, reverb, and echo to integrate into the piano ambience. Personal critique - the team wanted the recomposed format the same day first submitted. For this project I did not take the time to manually filter out pops in the monologue, which became a lot more distinct in the softened format.
    Lands of Morpheus, 8ft x 9ft, 2024. Acrylic, assorted mediums, gessoes, and extenders on canvas.
    This file is a digital stitch record of a five panel project. Completed in summer of 2024.
    Where the Owl Lands, 4ft x 4ft, 2025. Acrylic, gessoes, and extenders on canvas.
    This artwork is created through a flow of conscious, starting from abstraction until I can find form. It was created in one week.
    Catalogue design for Chrysalis: 2026 UBC Graduating Art Show
    The majority of the student body participating and our team organising the show desired a saturated maximalist aesthetic. It was an uphill battle to appeal relevant designs to UBC bureaucracy, however I managed to get a lot through. The work was through a competitive course placement for an exhibition theory course. Nine classmates were accepted. I impressed my instructor, his supervisor, and teammates with my work, and even unified the team on branding appeal as some were skeptical on all options provided by the group strategy periods until they saw how the visuals were turning out under an aesthetic established on the Mourning Cloak butterfly, in a style I had referred to as "cyber-gothic neo-classical." branding graphicdesigner bookdesign catalogue exhibition This example featured is the cover of the catalogue, where I designed the entirety of the layout, 80 pages, over one weekend and underwent consultation with students when I saw their work could benefit from more than just standard grid placements. This was following two months of planning and approvals, only for someone in the final approval stages to scrap nearly everything aside the cover, index, and acknowledgment pages.
    Perennial Rats Exhibition
    Following the organisation of UBC's Chrysalis, there were a couple of artists who did not have a chance to exhibit in the graduating show or did not feel properly accommodated. I had also connected well with some of the hard working teammates while developing the exhibitions for UBC. I reached out to those regarded to invite them to exhibit at the James Black Gallery, and we applied a similar yet more personal and lax process in arranging a short exhibition. As member to JBG I could cover the cost of space rental through discount, we brainstormed as a collective on an aesthetic inspired by the space, one can see the slight grunge values carried from the aesthetics we arrived to for Chrysalis, only this show was fully organised within two weeks. We decided to run the opening by private invite, however 50+ people came through, and this graphic was used for the invite. Again, I created the visual branding off feedback provided, and audio ambience as an experiment. The group enjoyed the process and we still keep in touch, intending for follow up shows. video
    Screen Exhibit Design for Chrysalis: 2026 UBC Graduating Art Show
    The majority of the student body participating and our team organising the show desired a saturated maximalist aesthetic. It was an uphill battle to appeal relevant designs to UBC bureaucracy, however I managed to get a lot through. The work was through a competitive course placement for an exhibition theory course. Nine classmates were accepted. I impressed my instructor, his supervisor, and teammates with my work, and even unified the team on branding appeal as some were skeptical on all options provided by the group strategy periods until they saw how the visuals were turning out under an aesthetic established on the Mourning Cloak butterfly, in a style I had referred to as "cyber-gothic neo-classical." branding graphicdesigner animator exhibition video This is an example of last minute work. I was first told there was someone in a graphics or IT team through UBC that was to throw together a display off the assets I provided for the screens in front of the main gallery. I was then notified shortly prior to launch that all which was done for this was someone took a screenshot of a static poster design intended for print. I had one hour in the morning to get a project submitted to provide an alternative to be approved of, and they preferred the animated display. The goal was to integrate a partial glitch aesthetic and maintain a lack of sterility while repetitively capture attention by a mixture of fluid and snapping movement, the intention is similar to yet without the risk of utilising flashing lights for display.