North Vancouver–based multidisciplinary artist and curator Karl Mata Hipol brings a rich and layered perspective to every piece he creates. From woven archival works to public art, his practice is rooted in both material experimentation and a deeper cultural narrative. We sat down with Karl to talk about his journey, the evolution of his art, and the role framing and community play in his creative life.

Karl Hipol: My artistic practice is multidisciplinary, grounded in research-based methodologies and expressed through painting, archival printing, weaving, installation, sculpture, and public art. At its core, my work challenges and disrupts the “Filipino invisibility” embedded in Canadian history and cultural narratives. This commitment extends into a broader decolonial practice—unlearning internalized oppression and uncovering marginalized stories hidden within archives and institutions—while reimagining spaces for diasporic identity, resilience, and collective memory.

Karl: Yes, my work has changed significantly. My time at Artists for Kids was formative, as the experimental projects and painting exercises during the camps gave me a foundation of curiosity and inspiration, helping me decide to pursue studies at Emily Carr University. At first, my focus was on developing technical skills to produce realistic artworks, but throughout my time at Emily Carr, my practice evolved in new directions. I began to move away from representation and instead embraced visually abstracted, conceptual, and research-based works. This shift allowed me to explore broader themes of identity, history, and cultural narratives through interdisciplinary approaches, rather than solely technical execution.

Karl: At the moment, my go-to tools and materials are Liquitex Soft Body Acrylics, Gouache, Opus Finest Digital Print on Canvas, and Lineco Neutral pH PVA Adhesive. These materials are central to my process of creating woven archival photographies, where printed imagery is cut, layered, and interlaced with painted surfaces to construct hybrid works that merge photography, painting, and textile-inspired methods.

Karl: My favourite surface to work with is smooth canvas. Since much of my work involves the Opus Finest Digital Print on Canvas, I often repurpose the offcuts from those prints and interweave them into my pieces, giving the surface both structural and conceptual significance. For additional material support, I’ve found that Sinoart Canvas Pads provide the closest weight and texture to match, making them an ideal complement to my woven photographic works.

Karl: Framing plays a key role in my creative process, particularly through the use of the Opus Luna Shadow Frame. This frame allows me to present artworks that are dimensional, multi-layered, and textured, complementing the woven and archival qualities of my practice. Its flexibility is essential—it can be used for both float mounting and direct mounting, offering either depth for a suspended effect or a flushed, seamless finish. This versatility makes it an integral part of how I shape the final presentation and visual impact of my work.

Karl: When choosing a frame, I consider the specific needs of each project and how the frame can enhance the work’s material qualities. For my woven pieces, which are highly tactile and often have organic shapes or raw canvas edges, the Opus Luna Shadow Frame is my go-to choice. Its shadow effect allows the weavings to breathe within the frame, highlighting their dimensionality while preserving the irregularity of the handwoven edges. This creates a balance between structure and openness, allowing the frame to function not just as presentation, but as an extension of the artwork itself.

Karl: A common mistake I see is working in non-standard sizes, which can make framing difficult and costly for both artists and collectors. While this doesn’t mean artists should limit their creativity, it helps to consider framing options early in the process and align with what’s available to ensure easier exhibition and sale. Another frequent issue is not knowing which materials to use—such as when to apply archival methods or whether a piece should be behind glass. Being mindful of these technical choices ensures the work is preserved properly and presented professionally.

Karl: Submitting to the Vancouver Art Gallery’s Art Rental & Sales Programme is a fairly straightforward process. The main requirements include an artist biography, statement, CV, and an inventory or artwork index sheet that lists each piece with its title, size, medium, price, and a thumbnail image. I’ve found this last document particularly useful, not just for VAG, but also as a professional tool to share with potential collectors and for other calls.

In terms of presentation, the programme only requires D-rings installed on the back of the work so that it fits into their hanging system. Beyond that, framing is optional and depends on the nature of the piece. However, it’s important to remember that these works are frequently handled and moved between different spaces, so durable framing or protective measures are strongly recommended to minimize long-term wear or damage.

Karl: Working at Opus has shaped both my perspective on materials and my sense of artistic community. It became my art laboratory, playground, and second classroom—where I learned not only product knowledge, but also how to embrace mistakes and curiosity, lessons that now resonate in my creative process. Having access to such a wide range of materials allowed me to experiment more effectively and confidently with new techniques. Beyond the technical side, Opus also showed me the value of community engagement. Attending events like the Opus Outdoor Painting Challenge—where I was fortunate to be one of the winners in 2016—helped me understand how important it is to show up, connect, and grow alongside other artists. That experience was a turning point, sparking deeper connections to the art community and shaping the trajectory of my practice.

Karl: Yes, there have definitely been moments at Opus that inspired and influenced my own work. The most valuable part has been the interactions and conversations with people from all walks of life—fellow artists, community members, and colleagues—each sharing different perspectives that often stayed with me long after. Beyond the technical advice I’ve gained through artist demonstrations and workshops, it’s the wisdom exchanged in these everyday conversations that has shaped how I think about my own practice. Hearing how others approach challenges, experiment with materials, or even speak about their relationship to art has encouraged me to embrace experimentation and reflect more deeply on the cultural narratives I bring into my work. These moments of shared learning remind me that art is not only about materials and techniques, but also about community, dialogue, and exchange.

Karl: One thing I wish I knew earlier in my art journey is that mistakes, uncertainty, and rejections are not setbacks, but essential parts of the process. Early on, I felt pressured to produce polished, “correct” work—something that would earn high marks in university or please professors. That mindset often limited my willingness to experiment and take risks. Over time, I’ve realized that curiosity, trial and error, and even failure lead to the most meaningful discoveries in my practice. Embracing the unknown—and accepting rejection as part of growth—has allowed me to work with greater freedom and confidence, both technically and conceptually.

Karl: Balancing a day job with a creative practice can be challenging, but it’s also possible to turn that tension into momentum. My advice is to protect your creative time like any other commitment—whether that means dedicating a few evenings each week, or setting aside weekends for studio work. Small, consistent efforts add up over time.

It’s also important to let your day job inform your art, rather than viewing them as completely separate. The skills, interactions, and even challenges you encounter in daily work can spark ideas and feed back into your practice in unexpected ways.

Finally, remember that balance doesn’t always mean equal time—it’s about sustaining both without burning out. Give yourself permission to rest when needed, and focus on quality and intention rather than volume. A creative practice is lifelong, and nurturing it consistently is more valuable than pushing yourself unsustainably in the short term.

Karl Hipol’s journey reminds us that art is more than what happens in the studio—it’s the product of risk, experimentation, and community. His insights on framing, materials, and balance offer practical takeaways for artists at every stage, while his commitment to identity and dialogue opens a wider conversation about what it means to create in today’s world.

Watch the full video interview with Karl Hipol on our YouTube channel, and explore more stories from artists shaping the future of Canadian creativity.

You can see more of Karl's work on his website: karlhipolarts.com/, and follow his progress and updates on Instagram @karlhipolarts and Facebook @karlhipol