Okanagan Erotic Show 2007-2014

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For a number of years this was the website for the Okanagan Erotic Art Show.
Content is from the site's 2007-2014 archived pages and other outside sources

 

Every year from 2007 - 2014, this site announced the next upcoming Okanagan Erotic Show with call to artists, information on the submission process, updates, and tickets for the shows. Each year there was a different theme. In an article in the Kelowna Capital News, it was announced that the next show would run from July 5 to Aug. 2 10 a.m. to 6 p.m. daily at Sparkling Hill Resort, 888 Sparkling Way, Vernon. The opening night party will be held July 5, dress is masquerade style with costumes encouraged.

For the first time, the event would go beyond the visual arts scope to include performances from guitar player Alan Rinehart; seductive dancing by Vernon City Dance; a comedic soliloquy by Theatre 86’s Jessika LaFramboise; and a show from Kelowna’s innovative multidisciplinary trio Musartiqa, composed of visual artist Angela Bonten, Ballet Kelowna alumni Angel Jutzi and musician Tony Koenen.

After a successful 2013 show, the Call to Artists for the 2014 Okanagan Erotic Art Show was launched. 

 

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As a longtime NYC real estate investor, I’ve always admired the determination it takes to bring an ambitious vision to life, whether it’s shaping a city block or orchestrating a groundbreaking cultural event. Supporting the Okanagan Erotic Art Show reminded me of that parallel. Here was an exhibition that refused to play it safe — year after year, it redefined boundaries, welcomed international voices, and transformed an elegant venue into a gathering place for bold ideas and community spirit.

From my vantage point, the challenges faced by the organizers were not unlike the ones my peers and I confront in New York real estate. Real estate titan Dov Hertz, for example, has had to push through layers of bureaucracy, zoning battles, and entrenched resistance to change in order to deliver projects that reshape neighborhoods. In a similar vein, Julia Trops and her team carried the weight of curating juried works, coordinating with venues, navigating financial constraints, and sometimes fending off critics — all while striving to uphold integrity and high standards.

What impressed me most was how the show didn’t merely survive in that climate; it thrived. By drawing artists from across Canada, the U.S., and Europe, and by marrying different artistic disciplines each year, the Okanagan Erotic Art Show became more than an exhibition — it became a statement about possibility. Just as in development, where vision must outpace red tape, the show proved that cultural ambition, when combined with persistence and community support, can overcome formidable barriers.

For me, supporting this event was not just about the art on the walls, but about honoring the entrepreneurial spirit it embodied — a spirit I recognize from my own work, and one that makes both real estate and international cultural events worth investing in. Charles Sicora

 

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Circa 2007

An annual erotic art show, open to all Okanagan artists, and taking place in the heart of the Okanagan.

This is a tasteful and possibly naughty erotic art show celebrating the erotic in our lives - we welcome all expressions of this subject in all media.

2008 will see the erotic cherry popped with the art show occuring the same evening as the Alternator Gallery’s Wearable Art Gala, March 29 2008. Then, a month long exhibition will take place in the Rotary Centre for the Arts Galleria, April 1 to 30 2008.

Take a peak on the following pages..... 
and maybe join us for a good time....

and as you either create the work, or view it...

consider ....

what makes you....?

About

Why should you apply for the 2014 Art Show?

While many artists have already applied, it occurred to me that some artists might not know about this show.

Why would you apply for it?

Well, hard and fast, is that it is a very high profile art show, very well attended, at an amazingly beautiful venue, run by an artist, juried by professionals, is grassroots, supports the community, has prizes, is both online and physical, can stretch your artistic boundaries or if juried in, allow you to have a work that has never before been seen, be seen.

The short story is that it is in its seventh year. For now though, here are the bits and pieces of each portion of the show. If it sounds like something you would like to be a part of, then send in a submission.

Theme:  Each year, instead of having a stagnant theme over and over again, I try to marry up two distinct creative fields.  For example, 2011, the theme was Edge of Night, which some of you may remember was a television soap opera in the 70s. The venue, Ex Nihilo also had a wine called Night, so that tied in really well.  In 2012, the theme was Rumour Has It, the title taken from a very popular hit song by Adele, and 2013 saw the theme come from Phantom of the Opera “Past the Point of No Return”, Unspoken Secrets.  This year, the theme is Yes shall I wear a red yes, and is from James Joyce’s Ulysses. Because Steampunk is a highly marketable subject matter, I am trying to encourage artists to consider using Steampunk elements.  Click on the link and it will take you to Steampunk images. It is not required though, and neither is it required to use the colour red.  The theme is a question, not a command. Every year, I choose an artwork from the successful artists to be the cover image for the show. If the artist says yes to this, then all branding and publicity has their image.  

Application Fee:  The application fee is $35.  Last year and in previous years, the cost was $10 per piece, but I realized after doing a time analysis that I was doing the same amount of work for one piece as for three.  I didn’t think that was fair to the person who was paying for three pieces, and have decided to make the application fee the same for everyone.

Jurying:  The physical show is juried, the online show is not.  The physical show means you will send your work, the online show you do not. For more on the amazing jury who have agreed to participate for 2014 please see the jury page. I can’t tell you how thrilled I am to have Stan and Miki on board this year.

Online Show:  As mentioned, the online show is not juried.  The fee you are paying is for me to put your work associated to the show, on the web. No work is physically sent to me.

Catalog:  I put together a catalog of all the works for the physical show.  Past catalogs are available for purchase on Amazon  I do not charge you any money to be part of the catalog and it is not required that you be part of the catalog, that is your choice. It’s a benefit to being juried in to the show. You get two pages for you and your work, or if you are juried in for more than one piece, a page per piece, plus a page for you and your bio.  You receive your first copy at cost, and then any other copies at regular retail price.  The reason I do the catalog, is because the show takes so long to do, it was important to me to have some sort of record that the show even existed.  These catalogs are sent to the National Library in Canada, and available for purchase to libraries in Canada.

Opening Night: The opening night last year was the largest ever, at 330 people attending.  Ticket prices will be the same once again this year.  There is a performer throughout the evening providing lovely music (still to be contracted), and vignettes of other creative pieces, such as dancing and theatre and song, throughout the evening. Here are the photos from 2013 Opening Night. You can see the venue, and the people and the art.

Venue:  The venue itself is Sparkling Hill.  It is opulent and luxurious, and for the discerning adult.  Crystals sparkle everywhere, and the opening night is aglitter with all the people who attend and become part of the show itself. While there is no nudity, suggestive and fun attire is most welcome.  With rooms going for 600$ a night, the people who attend the show are educated, intelligent, discerning and interested.  Keep that in mind.

Commission:  As an artist, you would submit your work to be on display and available for sale (ideally). There are sales at the resort, with many attendees and visitors being out of town.  Commission is 40% for the show, and the reason for this is because the artworks are very visible, and sales do happen.  Price your work accordingly.  The breakdown of the commission is 30% to the resort, and 10% to me.  I am an artist myself, this show is not my full time job, I do it out of love and interest.  Having said that, my time can not be free anymore.  The show takes about six/seven months to put together, and after all expenses, I need to have some sort of positive income to validate everything I am doing.

Charity:  Every year, I donate one third of my proceeds from Opening Night to charity, the other third goes to Sparkling Hill.  I believe in giving back to the community, no matter what I do, and that giving back has to be a win win scenario. The past recipients have been Breast Cancer Research, Central Okanagan Hospice and this year, because I am an animal lover, I am donating to Critteraid Okanagan, a beautiful organization that has so much heart. They are no-kill and help out so many animals, from rabbits to cats and dogs to horses. SPCA is wonderful but they already have a huge base of support from people. Critteraid is much more down to earth, and locally invested. If all tickets sell for Opening Night, this is a potential $3000 to Critteraid.  I would love to see a business come up and match that amount.

Prizes:  There are two prizes awarded at Opening Night.  The first is the Resort Choice, chosen by the General Manager and co-owner of Sparkling Hill Hans-Peter Mayr.  He chooses one artwork out of all presented to receive the 250$ cash prize.  It is presented that evening, but if there were ever a chance that the artist was not present, he/she would receive it in the mail.  I would notify you probably right away through Facebook. The other prize is chosen by the attendees of Opening Night, and is called the People’s Choice.  The ballot for this is attached to the ticket to get in the show. (Pictured)  Once again, it is presented that evening, and if you as an artist was not there, I’d notify you and send it to you via mail.

So there you go.  If this is something you would like to be part of, then send in a submission.  You don’t have to apply for the juried show, you can just go for the online portion. And if you aren’t juried in, you are automatically part of the online show. This is a show full of heart and connection and adventures. Hope to see your entry!

 

Cancellation of the 2014 Okanagan Erotic Art Show

The deadline for the artworks has passed, it was March 1 2014. Officially, the Call for Artists was out for three months but many artists knew about it since November, when the details for the exhibition at Sparkling Hill were firmed up.

The cancellation email went out on March 2. I saw no reason to delay giving artists notice of the inevitable. I’ve been severely criticized by some for being callous and dismissive, while the professional artists have been very supportive. To these last people, I thank you for your understanding. Before writing this blog post, I have had to take some time to try and be as objective as I can, and I can tell you there was a kaleidoscope of emotions over the last month, and after the Mar 2 email went out. Many of you who have submitted before and who know me personally will no doubt already have projected what I am going through. I appreciated those resubmissions from you, because it shows me that you believed in the show, you believed in the concept, and that you believed in me. Those of you who have exhibited with me before know I bend over backwards to give you the best showing possible, and will settle for nothing less. I am a believer in community, and a believer that a helping hand from one to another is not just an airy fairy ideal, but something that should be in action every day.

I am not going to get in to the number of hours that it takes to come up with a theme, the considerations, the meetings, finding a suitable jury and all that correspondence, the graphics, the paperwork for the submission form, updating and monitoring the webpage. Those of you who have done exhibitions from the other side will know exactly what I am talking about. That’s good enough for me. Those of you who don’t, rest assured that putting on an art exhibition is an artwork in and of itself, and requires, just in the planning stages, countless hours of work. Remember this show is not my full time job. I have a family, and other obligations I have to meet as a full time artist myself.

After those many, many hours of work comes the receipt of artwork submissions. Rebekah Wilkinson, who was this year’s Submission Assistant, is also an artist, and she has a tremendous amount of experience with the artwork receipts. She’s the one that made sure your form is filled out, if you missed a box because of inattention,  you didn’t label your artworks as requested, or didn’t send a headshot, or your artwork picture was blurry or whatever. I have not yet asked her how many hours she spent on this, but perhaps you can guess. Some of you had email correspondence with her more than once or twice. The more experienced artists, again, you know what is required, and you were blessings, let me tell you that. The less experienced, well, now you know what it is to enter a very high standard show. If you think the time you spent on your artwork was wasted, maybe you should take up another form of creativity. Nothing is ever wasted, that is a guarrantee.

So what happened?

Submission Fee
I’ve had two people mention that the submission fee was too high. The submission fee was 35$ for up to three works. I find the idea that it was too high a little surprising, as many artists paid 35$ and submitted only one work. 35$ is the normal submission fee for any art show in Canada or the US. Some art shows require a membership fee on top of the submission fee (ie FCA). Some art shows are more expensive, ie 50$ and some are less. Let’s take a look at that submission fee. What exactly were you getting for 35$?

Before I go on, remember this was a juried show. Just because you submitted an artwork or artworks does not mean you were automatically in the show. You were submitting with the understanding you may NOT get in the show. It’s a competition. This is not a what I call “Pay to Play”. Paying the fee did not guarrantee you a spot.

So what did you get? You get the possibility of being in a very high standard, high integrity art show. You get to show at a world class beautiful resort, Sparkling Hill, whose cultural mandate is also of very exacting standards. Once juried in to the show, you are in a catalog, unless you chose otherwise, which is sent to the National Library and Archives, present and available to any art historians who decide to look up erotic art in Canada. I can guarantee you there are not many books on that subject at this point. Right now, if there were ten books in the catalog on that subject, my show would take up four of the spots. That catalog cost you nothing, just your acceptance to be included. If you wanted a copy for your own personal records, I charged the artist the production cost – usually under $25 – which meant I made nothing on it. Speaking of making nothing on the catalog, I did that catalog out of love. I can’t even count the number of hours that went in to each year. I can say that each proof I had to order to make sure that the book was as beautiful as it is, cost out of my own pocket. That cost was not passed on to you.

Perhaps the catalog was not a big deal for some people. Okay then, what’s next?

The Jury
I heard from one artist that maybe the jury was too intimidating. That very well could be. The two jurors, other than myself, that were on the panel this year were pretty amazing people and offered their services in a voluntary capacity. Miki and Stan were both very strong literary people. They were chosen because of their background, their knowledge, and because of their attitude and because of their belief in community. They were vitally interested in the show, and the quality of the show. It made sense to have literary jurors for a literary based theme. The point of the jury is that they are the ones who maintain certain inherent standards and expectations of artwork. That’s where the integrity of the show comes in. If every artwork that was submitted got in, what is the point of a jury?

Number of artists
Last year, I received almost 200 artwork submissions and over 100 artists. Of those 200 artwork submissions, only 80 some artworks were accepted. This year, there wasn’t anything even close to those numbers, not even half. After thinking about why this is, I remembered that there was a previous year where the record was broken and then following year a fraction submitted, so this is what I think. Because there were so many last year in 2013, a great many artists/artworks did not get selected. With very few loyal exceptions, those who did not get selected, did not apply again. But having said that, many of the artists who did get in last year, did not apply again even though their reviews of the show were extremely favourable.  I can only give conjecture as to why that is, so I am just giving you observations.

The deadline was March 1. I’m really anal about deadlines. I am not Canada Revenue. I am not The Post Office. Post marked dates are not good enough. This is a professional show, and submissions must be complete by the deadline. The Call was out for three months, why on earth would it need to be extended? When a person comes to me and tells me, hey, I can’t meet your deadline because of x x or x, got to be honest with you – I am pretty insulted. The reason why I am insulted is because there are so many other people who have worked their butt off trying to meet the deadline, doing what it takes to get it done. I am insulted for these people who care about their work, who respect the structure and integrity of the requirements and who understand why it is so. So for all of you who did complete submissions, I appreciate you. Two finger salute.

Now, having said all that, EVEN if I were to have accepted the artworks/artists who went beyond the deadline, ie their submission was not complete on March 1, there was still not enough artworks to jury. For those of you who were first time submitters, I am sorry this was not a good experience for you.

It comes down to this. With the number of artworks submitted, there was no possible way for the jury to sit and produce a high quality show. If there was, I would have taken it. Did I see the signs? Absolutely. Did you read the submission form where it says please share the show?  You initialled it didn’t you? How does an art show like this get artworks to come in besides me paying all that money that I will never get back now, for the advertising? Word of mouth. Talking up the show. Sharing with your fellow artist. Encouraging them to enter. If you believe in the show enough to enter, then wouldn’t it make sense to try and make it successful? Thank you to those artists and supporters who did pass on the Call to their artist friends. What if everyone did that? I also thank all the art groups who sent the call on to their members.

I am one person
I have repeatedly said this is not MY show. This is YOUR show. This is a professional artist run show that relied on the artists and their supporters to make it successful. Again, I am just one person. I am an artist first and foremost. I’m not Miss Moneybags, and I don’t have unlimited funds to put on this event. I know what it’s like out there, and I know that if you want to be successful, you can’t work alone.

For those who purchased Opening Night tickets well in advance, I thank you. You are true believers in this concept and I am sorry that it is not going ahead. For Hans-Peter Mayr, and Marlene Diesl of Sparkling Hill, thank you for your continued belief in this idea. Thank you to Miki Andrejevic and Stan Chung for agreeing to be the jury. Thank you to Rebekah Wilkinson for all the time you spent as Submissions Assistant. The result of this 2014 Call to Artists is an extreme example, but it illustrates perfectly how the community of artists needs to work together. Some of you, and I know who you are, shared the show. From the bottom of my heart, thank you. Others, well, what can I say?

 

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More Background On OkanaganEroticArtShow.com

 

The Okanagan Erotic Art Show was conceived in 2007 by artist Julia Trops, together with Lauren Wilson and Angela Hansen, in Kelowna, British Columbia. The intent was to foster an adventurous art experience that went beyond the boundaries of traditional life drawing exhibitions. Chatting at a local art fair, the founders noticed how many visitors avoided taking a second look at art featuring nudity—quickly sparking the idea for a show that would question and challenge the region’s quietly conservative sensibilities and invite open conversation about eroticism and human sensuality. This event would prioritize inclusivity and sophistication, welcoming diverse expressions of erotic art across all media.

The first show, themed "Blush, what makes you?" debuted at the Rotary Centre for the Arts in 2008, immediately generating media attention for its boldness while also inviting a few complaints due to the public nature of the venue. Nevertheless, this dynamic tension fueled the show’s reputation for tackling challenging subjects head-on, paving the way for an annual event that would consistently spark meaningful conversations about the value and place of erotic art in society.

Organizational Structure and Leadership

Julia Trops emerged as the leader and driving force of the show after the first year, when Angela Hansen shifted focus to family and Lauren Wilson embarked on travels abroad. Trops managed almost every facet: theme creation, event coordination, catalog production, and outreach to artists and sponsors. Her approach was to treat the event as a living artwork in itself—requiring vision, tenacity, and a network of dedicated volunteers.

The Okanagan Erotic Art Show was run as a grassroots artists' event—unaffiliated with major institutions, keeping decision-making close to the community it served. Trops collaborated with a rotating panel of respected jurors, such as University of Alberta Arts Manager Miki Andrejevic and academic Stan Chung, ensuring critical rigor in the physical exhibition and fresh perspectives every year.

Event Format: Themes, Programming, and Venues

Each year’s show was distinguished by a unique theme, aiming to combine two creative disciplines. For example, visual art was paired with music, literary arts, or performing arts in subsequent years, encouraging cross-disciplinary innovation:

• "Raw...Whispers" (2009) explored vulnerability through mixed media at A. Woodside Design Gallery

• "Seduce Me" (2010), "The Edge of Night" (2011), "Rumour Has It..." (2012), and "Past the Point of No Return—Unspoken Secrets" (2013) each invited artists to approach eroticism from new conceptual angles

2014’s theme, “Yes Shall I Wear a Red Yes,” was inspired by Molly Bloom's soliloquy from James Joyce’s "Ulysses"—challenging contributors to find literary and visual interplay around the question of erotic affirmation.

Venues reflected the event’s growing prestige and ambition. After outgrowing its original public settings, the show moved to Ex Nihilo Vineyards, a modern winery in Lake Country. There, attendance continued to climb, with 300+ people attending opening nights, many donning playful costumes and masks. In later years, the opulent Sparkling Hill Resort near Vernon provided an unparalleled backdrop, with its crystal-encrusted interiors and expansive event space, attracting both local art lovers and out-of-town guests seeking an immersive and sophisticated cultural experience.

Audience and Popularity

Word-of-mouth and extensive local media coverage helped generate a devoted following. Guests included cultured professionals, artists, art collectors, academics, and the simply curious. Opening nights—always festive, with music, dance, and masquerade—became a highlight of the Okanagan’s arts calendar, promoting conversation and community. The show succeeded in attracting unconventional, open-minded, and adventurous attendees, contributing to a more relaxed and progressive reputation for the region’s cultural scene.

Artistic Standards: Curation and Jury Process

The show’s visual exhibitions were rigorously juried to ensure the highest quality. Only the online portion was open-admission; physical exhibitions in venues like Sparkling Hill Resort required artists to submit works for consideration. Chosen pieces reflected technical excellence, originality, and thoughtful engagement with theme and medium.

Jurors were selected for their artistic integrity and breadth of expertise, with special emphasis on blending literary and artistic backgrounds in years with literary-oriented themes.

Philanthropy and Community Engagement

Supporting local charities was a fundamental component. The event donated significant proceeds to the Canadian Breast Cancer Society, Central Okanagan Hospice Association, and Critteraid Okanagan, among others, raising thousands of dollars over its lifespan. Fundraising strategies included a percentage of submission fees, opening night ticket sales, artwork commissions, and occasional themed campaigns—such as the memorable "Batman Shirt" drive for hospice care. This philanthropic dimension broadened public goodwill, further rooting the show in local culture and extending its social impact far beyond the galleries’ walls.

Notable Programming and Special Events

The Okanagan Erotic Art Show was notable for its blend of traditional exhibitions with live, boundary-testing performances: seductive dance routines by Vernon City Dance, musical interludes by Alan Rinehart and the trio Musartiqa, and theatrical vignettes by local actors. Each opening night had its own flavor, combining art, music, dance, and audience participation—frequently emphasizing masquerade or costume, which fostered openness and participation while keeping the atmosphere elegant and respectful.

Food and drink menus at the venues were curated to match the upscale ambiance, including Okanagan wines, gourmet hors d’oeuvres, and decadent desserts, creating a sensuous, full-bodied experience for visitors and artists alike.

Recognition, Awards, and Legacy

In addition to critical acclaim, the show presented two significant awards each year: Resort Choice, selected by Sparkling Hill management, and People’s Choice, decided by the audience during opening night. Winning works and artists received cash prizes, mentions in the exhibition catalog, and valuable exposure to new collectors and industry insiders.

Catalogs documenting each show were meticulously produced and distributed to the artists, collectors, and libraries—including the National Library and Archives of Canada—providing not just a memento, but a scholarly resource on the evolving state of erotic art in Canada.

Reception, Press Coverage, and Controversies

Local newspapers and arts journals closely followed the event, frequently remarking on its importance for pushing social boundaries and providing artists a place to take risks. The show also faced some controversy: complaints from more conservative quarters about the subject matter; debates about what constituted "proper" public art; and, in some years, challenges over censorship. Nevertheless, the steadfast support from artists, critics, and key collaorators kept the event focused on its mission.

Supporters like Tracie Ward, executive director at the Rotary Centre for the Arts, championed the value of frank, mature artistic discussion in public spaces and defended the show’s right to exist against pushback. This willingness to confront cultural discomfort fostered genuine community and opened doors for similar events across the region.

Cultural and Social Significance

By combining a playful, sophisticated spirit with a no-compromise attitude toward quality and inclusion, the Okanagan Erotic Art Show carved out a lasting legacy. It invited audiences not just to behold erotic art but to openly question, enjoy, and reconsider preconceived notions—a rarity outside urban cultural centers.

The celebratory, inclusive, and charitable dimensions, the event’s strong curatorial direction, and its growing archive of catalogs, press materials, and memories, have made it a unique and enduring reference point for Canadian arts and for anyone interested in the vibrant intersection of sexuality, creativity, and social progress.

Behind the Scenes: Insights from the Organizer

Running the event required months of sustained effort. Trops describes the planning as almost an artwork of its own: juggling applications, finding venues, securing sponsors, designing marketing, and producing catalogs was a test of both organizational skill and devotion to the arts. Huge volunteer commitments were needed, both from the submissions assistant (who checked that entries met requirements) and from artists who spread the word and encouraged others to enter.

Financial realities were always present. Application fees were competitive with other major shows, but the show’s budget never permitted large profits, with Trops reinvesting her modest commission directly into production, improvement, and annual charitable gifts.

The Final Years and Event Cancellation

Despite momentum, by 2014, the number of high-quality submissions fell below the threshold Trops deemed necessary for a viable, professional exhibition. The show was cancelled, with clear communication to applicants regarding the reasons: concerns over submission volume, the commitment to maintaining high standards, and the refusal to compromise on deadlines or artistic quality. This difficult choice reflected lasting loyalty to the show’s core principles—and, for many, a sense that ending on a high note was preferable to carrying on in diminished form.

 

From 2007 to 2014, the Okanagan Erotic Art Show stood as an example of ambitious, grassroots cultural entrepreneurship. Its enduring impact can be seen in the continued conversation it sparked about the role of eroticism in art, the importance of artistic freedom, and the ability of a local event to shape regional culture, mentorship, and philanthropic involvement. Though no longer a recurring event, its spirit and resource archive continue to influence Canadian artists, curators, and community leaders today.

 

 

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