The Blue Hour at Contemporary Art Gallery features the photography of five artists, both local and international, including Emily Carr University of Art + Design alumna Kara Uzelman (2004) along with Joi T. Arcand, Kapwani Kiwanga, Colin Miner, and Grace Ndiritu. This exhibit centers around concept of time within photography, how a photo can not only encapsulate a memory from the past to take forward, but can also act as a tool for futurity. The Blue Hour also kicks off the Capture Photography Festival, the local festival that exhibits cutting edge and thought-provoking photography from artists from Canada and around the world.

Contemporary Art Gallery says this of Uzelman's Perpetual Motion, the series included in The Blue Hour:

Kara Uzelman’s artistic practice suggests an interruption to mega-production and the disposable object and consistently re-evaluates the potential for alternative sources of meaning beyond what is understood on the surface. Uzelman’s processes of excavating, gathering and inventing act as a kind of self-directed study of her surroundings; the specificities of site and collecting become the means to speculate on possible stories embedded in found and discarded materials, as well as a way to explore time as a non-linear form. While the past, as literary theorist Susan Stewart argues, “is constructed from a set of presently existing pieces,” the collection looks to the future. In the way that a collection is never static, Uzelman’s work is experimental: there is no defined end-form or completion until the collector’s own demise. Perpetual Motion (2018) is part of an ongoing series of new works initiated through a field trip to an abandoned farmyard near Speers, Saskatchewan. Once occupied by the artist’s grandfather, the farm was eventually lost and Uzelman’s grandfather became focused on designing a perpetual motion machine. Despite having met him only a handful of times, Uzelman inherited his notes and drawings. By way of delving into this history, in Perpetual Motion the photograph becomes the conduit that unites site with collected objects and information, functioning as the “glue” in an assemblage. As Cadava suggests in Words of Light, “the photograph is always related to something other than itself. Sealing the traces of the past within its space-crossed image, it also lets itself be (re)touched by its relation to the future.” Through the manipulation of the collected materials, chronology becomes dislocated, and photographs become tools for future use in an as-yet unnamed context.