Audiences receive great in-flight entertainment with TMTC’s production “Catch Me If You Can”

Back for another year, the TMTC recently performed their yearly musical production and it was nothing short of excellence

By Olivia Harbin

(Audrey Persaud/ TMTC)

Detective Hanratty and his group of detectives followed him out of the wings as he frantically discussed his mission to find the wanted criminal, Frank Abagnale Jr.. Detective Hanratty, holding a binder as he spoke, went to throw his prop to his onstage colleague, Detective Dollar, who fumbled to catch the binder and dropped it onstage. This mishap did anything but distract the actors from their scene, as Detective Hanratty sighed “Dollar” in an annoyed tone and picked up the binder, dropping it into the hands of his scene partner. Without a beat, the impromptu accident was overlooked as a purposeful and comedic part of the scene, leaving audiences giggling cluelessly as the slight mistake was brushed aside. 

Back for another year of showcasing the university’s talent, the Toronto Metropolitan Theatre Company (TMTC) recently performed on March 27 to 30 its production of the musical Catch Me If You Can. From upbeat numbers with top hats to emotionally moving performances of love and romance, this year’s production left me in awe of the amazing talent on and offstage.

Based on the 2002 film of the same name, the musical follows the chaotic life of Frank Abagnale Jr. as he steals identities and government money across the United States. FBI detective, Carl Hanratty, notices Frank’s illegal behaviour and makes it his life’s mission to track down Frank and arrest him. The chase for justice and happiness intertwined with the importance of love and friendship left the audience full of laughter and tears in this year's production.

This musical’s principal roles were filled by abundantly talented actors whose connection I found delightful throughout the performance. Frank Jr. was played by Isaac Van Deven, a second-year sports media student whose onstage presence and incredible voice were captivating throughout the show. Detective Hanratty was played by Cooper McCrory, a third-year creative industries student whose comedic timing and improvisation were some of my favourite moments of the production. The two’s enemies-to-friends trope was seamlessly portrayed, as the banter and energy between the two of them tied together the entire performance.

This flashy, upbeat show was also carried on the backs of the ensemble, who delivered an immaculate performance through their choreography and various solos. I could not take my eyes off of dance core member, Camille Griffiths, as she delivered an enticing and flawless performance during her solo in “Doctors Orders”. Her captivating stage presence alongside her sultry and smooth voice stood out to me throughout the show.

Second-year performance production student Grace Johnson (Carol Strong/Ensemble), was amusing throughout the show as her enthusiastic persona of an overbearing and secretly fun mom who is obsessed with her daughter's fiance. Alongside her onstage husband and dance partner, first-year media production student Kalon Young (Roger Strong/Ensemble), the two gave an entertaining performance that had me laughing. During the scene leading up to, “(Our) Family Tree”, the pair questions Frank Jr. over his intentions to marry their daughter, Brenda. Johnson’s slow flex of her arm muscle when asking Frank to be a part of their “strong” family and Young’s “serious dad” portrayal while interrogating Frank Jr. were the best comedic moments in the show. Their big, dazzling number “(Our) Family Tree” even featured the two growling at each other on their knees in a comical act of attraction before tearing away their conservative outfits to reveal colourful, fun costumes beneath. Their chemistry onstage and ability to not take themselves too seriously during this performance was my favourite part of the production.

Director Vienne Janssen chose “Catch Me If You Can” as a way of breaking their pattern of doing Renaissance shows like Something Rotten and Head Over Heels. Janssen said this year's production offered a chance to change the narrative and do a show that was more inclusive for everyone involved, as the show provided numerous roles for everyone to have a chance to shine.

“I think another thing about Catch Me If You Can in particular that really drew me was the amount of characters that come in and out and how fast the show moves. Everybody is involved in telling the story, even though it's centred around Frank. It's like you need every single person. If one ensemble member was sick, the entire thing falls apart,” said Janssen. 

For this year’s production, acting students at Toronto Metropolitan University (TMU) could receive creative practice hours for participating in the show, making the rehearsal process different from previous years. Because the students were already experienced and trained in their acting, Janssen was amazed by what they were able to conjure up for their characters without her complete direction.

“I learned so much from watching them act and it was great even for everybody, acting program or not. While directing, I had the confidence to just step back and be like, you guys know what you're doing. I just want you to play with it and see what comes out from there,” said Janssen.

Gillian Bennett, a first-year acting student at TMU, was an incredible addition to the cast in her role as Brenda Strong. As Frank Jr’s love interest, Brenda’s character goes through an emotional rollercoaster when finding out her fiance is a highly-wanted criminal who is being chased by the FBI. Bennett captured the pure and innocent essence of Brenda onstage, and delivered an amazing performance during her solo, “Fly Fly Away.” With an angelic voice that received well-deserved applause from the audience, Bennett was truly the pinnacle of this production.

This year’s band was led by Deanna Mann, a first-time musical director who, although new at the role, was able to guide the band through a musically superb performance. 

Mann said one of her biggest challenges with this show was the little space the musicians had in their orchestra pit. Having changed theatre locations from the Al Green theatre to the Harbourfront Centre theatre, the small venue provided challenges for the band as there was a slim area on the front of the stage where they set up their musical stations. Aligned in rows of two going down the front of the stage, the nuisance of space did not distract the band from the amazing performance they put on.

“Each [musician] has to have their stands with all their instruments set up. They have to have the space to be able to take them off and put them back on. They're troopers. They're squeezing in there and they're making it work.” said Mann.

This year’s TMTC musical left me feeling like I could not only fly a plane if I wanted but left me with an immense appreciation of art, theatre and the TMTC. With an amazing cast and crew, this company did a fantastic job concerning this year's musical performance.

If you didn’t get to fly high with the wonderful cast of Catch Me If You Can this year, I urge you to keep a lookout for the announcement of their 2025 production.

Feasting on Femininity: The Interpretations of ‘Girl Dinner’ by Emerging Artists

Toronto’s Abbozzo Gallery centres their second annual group exhibition after “Girl Dinner,” where seven emerging artists portray girlhood through their different interpretations

By Neda Madany

Inside the "Girl Dinner" Emerging Artists Exhibition at the Abbozzo Gallery (Neda Madany/CanCulture)

Pasta brought back from Sunday’s dinner party, with a cup of grapes and half a stalk of celery left over from this afternoon’s lunch.One of the infinite possible recipes for “Girl Dinner.” Sharing unconventional combinations of food to create a low-effort dinner sparked one of TikTok’s most honest and relatable trends. 

“This is my meal, I call this girl dinner,” from TikTok user @karmapilled, is a sound that plays in the background of thousands of girls sharing what they pieced together in their kitchens hassle-free. 

Taking inspiration from the emergence of girl trends on social media and its manifestation into the real world, the Abbozzo Gallery’s second annual group exhibition showcased the work of seven artists and their interpretations of girlhood. 

The combined group of artists and their separate art mediums are “meant to echo the delightful varieties that make up a quintessential girl dinner,” according to the Abbozzo Gallery. 

“Girl Dinner” identified a relatable phenomenon that girls didn’t even know was shared by other girls, while still allowing for variation, as no two meals are the same. The widespread relatability rooted in the trend broadened the horizons for sharing experiences of girlhood via social media that embraces more girl-centred trends and feminist conversations. 

View of the “Girl Dinner” exhibition at Abbozzo Gallery (Neda Madany/CanCulture)

The invitation of the playful and satirical “Girl Dinner” trend being transformed into art pieces called Katie Butler to participate in the exhibit. “I really like playful details and stuff in art,” she says. The fluctuating and various approaches to “Girl Dinner” and other girl trends instantly opened up artistic ideas for the emerging artist from Ontario.

“Girl Dinner” immediately comes off as light-hearted, but Butler also sees the trend through a critical lens connected with feminism. The scenario of “Girl dinner” happens when a girl is by herself, for herself, and free from external perceptions. The trend suggests that girls will put together minimal meals to serve a basic need. However, Butler questions how much of the food we eat and prepare is performative for other people. 

As intentionally revealing the secret shared phenomena that many girls experience, “‘Girl Dinner’ is very honest about what you might do when other people aren’t looking,” she says. "Girlhood in general is very honest and not performative.” 

Already previously indulged with the theme of girlhood in her artwork, Alana Kinsey sees showcasing softness, femininity and things girls embrace as especially valuable. “I love the idea of exploring and honouring girlhood, especially in this day and age,” Kinsey says. The small girly touches from women everywhere in the world are what her art speaks to. 

“It’s just the everyday little things and how we can make it a little bit more beautiful.”

When Kinsey first encountered the “Girl Dinner” trend, her initial thought was that she was not the only one. “You don’t have to make this big, gourmet meal every night, sometimes you want to have a snack plate,” she says. “Little girly things that we do and make it normal.” 

The difference between moments considered girly versus womanly is a sense of privacy and being unapologetic, Butler explains. “I think that’s what you do when you’re a little girl,” she says. “Before you have that moment where there are things you should be ashamed of.” 

Pity Party by Katie Butler for the “Girl Dinner” exhibition at Abbozzo Gallery (Neda Madany/CanCulture)

A theme that Butler kept in mind while creating her art pieces for the exhibit was feminine indulgence. Pity Party, an acrylic painting by Butler, draws from the emotional indulgence of experiencing sadness. Rather than pitying a woman alone at a bar, Butler intended for her subject to be viewed as overdoing her emotions. Welcoming and indulging herself into the feeling of sadness, similar to watching a sad movie when you’re feeling sad. “That catharsis feels nice,” Butler explains. 

“The glasses in front of her are filled with some kind of ambiguous clear liquid, so you’re not really sure if it’s alcohol,” says Butler, noting a tear from the woman falling into the shot glass. “I like the idea of getting drunk on your emotions,” she adds. “When you’re just intoxicated by sadness.”

Collection of art by Alana Kinsey for “Girl Dinner” exhibition at Abbozzo Gallery (Neda Madany/CanCulture)

Kinseys’ collection of art came from special moments in her life. Taking snippets of her everyday experiences that she finds delightful to relate to others who may also see them as beautiful. The moments gathered together as girls, and the little things that may go unnoticed are things that Kinsey portrays in her art. “Getting ready with your friends to go for a night out, or coffee with friends,” she explains, “Finding the beauty in those little moments that we so easily brush by and forget.”

The sense of unity sparked by girl trends creates new conversations surrounding feminism. “You’re able to talk, bond, and not feel so alone,” says Kinsey. Shared experiences will never be connected unless spoken about. When people relate to something new, “it’s because someone is finally being honest,” says Butler. 

However, although the sense of connection drives girl trends, Butler remembers the danger of a single story. Sharing experiences with diversity from every individual combined “shows the variety that exists within the realm of femininity,” she adds. 

The beauty of sharing girl trends comes from the constant variety of every girl. “Having one view of what you expect from women is dangerous,” says Butler. “If that’s all you see, that’s all that is represented. Then it feeds into people's preconceived notions that women are one thing and not expansive.” 

More Than Art: Multidisciplinary artists feature the “screaming into the void” exhibition for KUUMBA

A collaboration between two multidisciplinary artists explores themes of Black identity

By Ann-Marie Njeru

On The Porch 2023 and Ronnie 2023, by Tiffany J Sutton at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

Multidisciplinary artists Aaron Jones and Tiffany J. Sutton collaborated on "Screaming into the Void," an exhibition exploring themes of Black identity, existence and the depth of shared human experiences for the KUUMBA festival. 

Aaron Jones, a Toronto-based artist, is recognized as an image builder who integrates materials such as books, magazines, personal photos and newspapers to forge captivating and unseen realities.

Tiffany J. Sutton is a Missouri-based portrait photographer who focuses on the Black gaze, placing Black femininity at the forefront through complex portraits of exclusively Black women. 

The exhibition featured separate works from both artists, representing the “Screaming into the void” theme of this collaborative process.

"I think screaming into the void meant that we were kind of yelling, we are sort of talking to a wider and whiter audience about the different varieties of Blackness within the community and the culture," said Sutton.

Sutton featured several different portraits of Black women. These photos speak about the community and the complexities they experience.  

Her work uses introspectiveness, abstract portraiture and layering photos to challenge the one-dimensional perception Black women face. She became inspired by her desire to connect more with the Black community and, more specifically, build friendships with Black women. 

Front Yard Trio by Tiffany J. Sutton at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

“It’s hard for me to make friends with other Black women for some reason, I just can't seem to manage it. I want to build a relationship, a friendship sort of thing with them and I want to build a community.”

As a Black woman, I feel heard and seen. It is very often that when expressing my emotions, someone treats me as if I can be reduced to a single stereotype; for example, the angry Black woman, a stigma many of us face. 

The overlaying on the portraits shows the complex emotions we deal with daily due to the convoluted lives we lead, all emerging from the challenges of being Black and a woman. It serves as a reminder that Black women are not a stereotype to dissect and are intricate like any other human.

Jones featured an incredible digital image, HARD DREAM, through a fusion of photorealism, whimsical abstraction and surreal fantasy.

HARD DREAM 2024 by Aaron Jones at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

The artwork explores the multi-faceted journey that humans experience. It delves into the realm of identity, immigration, spirituality, astral projection and loss and desire.

It includes the properties of Jones's artwork using newspapers, failed digital images and references from his previous work to create this profound and beautiful piece.

Jones’ piece uses a captivating blend of fantasy and science fiction, offering the viewer a deep and introspective experience. 

He invites us to reflect on our journeys and the obscurity of existence, and explore the relationship between nature and humans, nature and self and the natural world. Jones also urges viewers to reflect on ourselves, the challenges we face and how to have a harmonious relationship with nature.

When reflecting on the art piece I explored what nature meant to me and how I see myself as a part of it. As humans, I believe we must be stewards of the Earth which means taking care of nature and the people around us. The piece also speaks to the cycle of life and the co-existence of life in nature.

Turtle 2024, by Aaron Jones at the Marilyn Brewer Convention Centre on February 11th, 2024 (CanCulture/Ann-Marie Njeru)

In Aaron Jones' second work, a turtle shell symbolizes resilience, patience, and timelessness. The turtle's gradual sinking into obscurity represents the challenges faced by those who persevere despite setbacks.

The artwork encourages viewers to reflect on their determination during trying times. Standing alongside the turtle, they can contemplate the never-ending connection between nature and humanity. 

The piece is an emotional reminder of human resilience and our interconnectedness with the natural world. It is part of a broader exhibition that explores the richness and complexity of culture through the works of various artists. This exhibition aims to inspire viewers to reflect on their experiences and the human spirit's capacity for strength.

"Screaming into the Void," highlights a captivating narrative that delves into Afro-futurism and reflects on nature and spirituality. It celebrates the richness and strength of Black culture, celebrating Black women, spirituality and nature. It emphasizes the importance of diverse perspectives and interpretations in art. 

Beyond displaying individual artworks, the exhibition embodies the ongoing spirit of innovation and the boundless potential for creative expression. Both artists do a remarkable job using multimedia elements to expand on their work, showcasing the passion and creativity Sutton and Jones bring to the world of art.

Caroline Monnet Carves, Stitches, and Weaves Anishinaabe History and Language Into Material Form: A Review of Pizandawatc

Caroline Monnet’s recent exhibition reclaims generations-deep ties between land and language in a“love story” dedicated to Quebec’s Outaouais region and the artist’s ancestors. 

By Grace Henkel

Odinimatawak (Blending into one), 2023, by Caroline Monnet (Grace Henkel/CanCulture)

In the dimmed lights of the University of Toronto’s Art Museum, several of Caroline Monnet’s sculptures, rendered in polished oak, maple and cherry wood, seem to emit a soft glow. 

The undulating shapes in the first section of Monnet’s exhibition Pizandawatc are literally whispers of solidified sound and breaths of language that the French-Anishinaabe artist preserves in a tangible form. To create each piece, words and phrases in Anishinaabemowin were recorded and their sound waves were converted into digital 3D images using architectural software, which were then carved out of wood. 

Detail of Odinimatawak (Blending into one), 2023, by Caroline Monnet (Grace Henkel/CanCulture)

“It's proven scientifically that the rhythm of languages and tonalities of different languages is based on topography of the land, " said Monnet.

“I was looking at the Outaouais region, my ancestors' territory, and just starting to think about how we used to name places back in the days and how much knowledge is actually embedded in naming those places and [in] the land as well.” 

She also generated a reverse process, sourcing materials from the land, such as driftwood “that has seen many years and of seasons changing and rain [...] that has transformed over time.” 

Then, Monnet and a software team converted the wood’s digitized shapes into 2D soundwaves. In this way, unique sounds emanate from each piece; the natural world itself speaks. These are layered together in a stirring immersive audio installation at the beginning of Pizandawatc. 

“It's really the direct link between the language we speak and the landscape we occupy,” said Monnet. 

Sculptures Pizandawatc Sagahigan (Lac Celui qui écoute), 2023, Odinimatawak (Blending into one), 2023, Nindanweb apii  dagwaaging (When It’s Fall, I Rest), 2021 and Ikwe origami (Portage de la Femme), 2023 are part of a series combining native and industrial wood that “offer a poetic strategy to reclaim the language and its connection to the land,” according to the exhibition description. 

Detail of Okikad (tree stump), a bronze sculpture by Caroline Monnet (Grace Henkel/CanCulture)

Okikad (tree stump), a bronze sculpture in the shape of driftwood by Caroline Monnet (Grace Henkel/CanCulture)

These pieces meditate on wood’s availability to Indigenous peoples as a building material before colonization, while bronze sculptures Okikad (Tree Stump) and Okan (Bone) depict the first copper alloy used by the Anishinaabe.  

The voices behind each recording-turned-sculpture, according to Monnet, are “language keepers or youngsters that are reclaiming the language right now, relearning their language.” 

Pizandawatc, (pronounced pi-ZAHN-dah-watch), is an Anishinaabemowin surname, which translates to “The One Who Listens.” The title honours the artist’s great-grandmother, Mani Pizandawatc, who was the first of Monnet’s ancestors to experience the implementation of the reserve system in Kitigan Zibi, Outaouais region, and the last to bear that surname before the erasure of traditional names was imposed by the Catholic Oblates. 

“I was just thinking, you know, there's a responsibility that comes with that name, and it gives you kind of a direction and you need to be able to listen to the things around you,” said the artist. 

“Within four generations, so much has changed.”

Monnet’s compelling process incorporates not only sound, but construction materials to confront the legacy of settler colonialism and its forcible suppression of the Anishinaabe language.

In Silence We Speak Volumes, 2023, (detail) by Caroline Monnet (Grace Henkel/CanCulture)

Monnet’s sculpture AKI hanging in the Art Museum at the University of Toronto (Grace Henkel/CanCulture)

Monnet’s sculpture AKI spells the Anishinaabemowin word for “land” with fiberglass insulation encased in a plexiglass shell. This piece, and others by Monnet like KIWE, or “to go back where it started,” meditate on the disposability of contemporary building materials and the ongoing housing crisis. The words call back to histories of Indigenous land stewardship, in stark contrast to artificial structures evocative of impermanence and waste. 

Though jokingly claiming to love the insulation because “it looks like cotton candy,” the substance holds a darker side for the artist. Monnet employs the fluffy, soft pink matter to convey a disconnect between the housing industry and the natural world from which it extracts its resources. 

“It's just such a nasty material that speaks about the lack of vision from the industry or the Canadian government from trying to build houses that will last for more than 50 years. That can be planned for the next seven generations, for example.”  

Kà-bimose magak Sibi (The River That Walks), 2023, is an embroidered roof underlayment by Caroline Monnet that celebrates the St. Lawrence river and Anishinaabe nomadic traditions. In the foreground is Mitik (Tree), 2023 addressing the “exploitation of trees” in settler construction practices. (Grace Henkel/CanCulture)

Caroline Monnet’s Wound 03, 2023, is made of Kevlar and adorned with beads (Grace Henkel/CanCulture)

Monnet also utilizes waterproof tarps and air barrier membranes, embroidering the fabric in several artworks that contemplate notions of shelter and habitat in the wake of cultural loss. Many of these pieces express a resolve to restore what has been erased by colonialism, merging themes of revitalization and resistance in shimmering, richly-coloured threads. One particularly striking embroidered piece, stitched in silver and steel blue, reads, “Wolves Don’t Play by The Rules.”  

The fabric sculptures of Monnet’s Wound series are composed of Kevlar, an aramid fibre used in bulletproof vests and aerospace engineering practices. The shimmering, overlapping forms, their edges delicately traced by tiny beads, express “a record of the body or a rugged terrain,” according to the exhibition description. The series conveys a dialectical bond between the painful legacy of trauma, the resilience of the land and body, and the healing process that follows. 

“I hope people have an emotional reaction to the works, that they feel connected to them. And just to realize that the land we occupy, everything around us, has a big influence on who we are,” said Monnet.  

“In return, we have a lot of influence on our surroundings. And [we must] be careful about that really fragile relationship.” 

French-Anishinaabe artist Caroline Monnet’s exhibition Pizandawatc opened at the University of Toronto’s Art Museum earlier this year (Courtesy of the artist)

Affording the Arts in Toronto

Eight ways to experience Toronto’s painting, pottery making, DIY craft making and more on a budget

By Azalea Young

As a multicultural city with an expansive art scene, Toronto has quite a number of artistic experiences and activities to offer for tourists and residents alike. Whether that comes in the form of exploring different art and history museums, attending painting sessions at art studios, or even doing something completely different, there are always new things to do around the city. Unfortunately, not all of these experiences are accessible to different groups of people, particularly students. 

With rising costs in almost every industry in the city, it can be difficult to experience everything its streets offer. But if you’ve only got a small budget (or no budget at all!) the experiences and activities listed below might be able to give you some inspiration on what to do when you’re feeling artistic.

#1: Charlotte @deconstrut - DIY Jewelry, Fashion, Design

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A post shared by Charlotte (@cheerscharlie)

Charlotte (@deconstrut), known to her followers as Char, is a Canadian social media content creator most popular for her styling and fashion videos. They showcase her different skills, whether it’s creating DIY jewelry—one of her most popular and pinned videos is her tutorial on how to make shimmering rhinestone earrings—sewing and crocheting outfits, creating felt patches, or nail polish art, her content is perfect for aspiring designers. She mostly focuses on showing her followers how she styles the outfits she creates, but there are plenty of sewing videos, as well as jewelry tutorials, although these are not as popular as her clothing videos. Still, if you want to see how she makes daisy chain rings or strawberry earrings that are perfect for spring, her TikTok page can get you started. She even has a separate website, titled “deconstrut” where you can read tutorials on making your own DIY design patterns.

#2: Clay With Me - Paint Your Own Pottery

Clay With Me has several pottery-making services, as well as pottery painting services. There are two locations in Toronto. (Gustavo Fring/Pexels)

Clay With Me is one of the best spots to go to if you’re interested in making your own pottery, whether you’re a beginner or a more experienced guest. Known as “Toronto’s Friendliest Pottery Studio,” they have locations at King St. W and Dundas St. W. The studio offers different workshops for various activities such as hand-building clay and wheel classes (note that these classes are more expensive), as well as paint-your-own pottery nights, where guests can book an hour-and-a-half painting session and choose a piece of pottery to paint and decorate. There’s a base fee of $15, plus an additional fee based on the size of the piece of pottery you choose to paint. The pottery piece fee starts at $5 for a small piece and grows from there. For those with a smaller budget, this is one of the best places to go for pottery painting, but if you want the painting without the pottery, the next experience is for you!

#3: Pinot’s Palette - Open Studio Freestyle Painting

Pinot’s Palette has weekly guided paint nights, with their freestyle painting workshops available at least twice a month. The Studio is located in Toronto. (Sarah Brown/Unsplash)

Also located at Dundas West is Pinot’s Palette, a painting studio that offers all kinds of guided painting sessions, as well as freestyle ones. With its friendly and bright atmosphere, Pinot’s Palette is accessible to all age groups and painters at all levels. While some sessions are more expensive than others, similar to Clay With Me, the guided ones—like this Toronto Skyline at Sunset one—are around $45, and the freestyle ones are around $25. Labelled as ‘open studio’ these paint sessions are more casual, with a professional artist available to guests only for consultation and advice, leaving individuals to paint whatever they want! You can drop in for a session during a two-hour period where you can choose to paint either a small canvas or upgrade to a larger canvas (doing so comes with an additional $10 fee), but if you want to paint something different, it’s perfectly fine to bring in clothing or drinking glasses instead. Allow your inner artist to shine through in whatever piece you want to paint, and embrace the creativity that comes with it. 

#4: Reminiscent Candles @_reminiscentco - Candle Making/Candle Hacks

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A post shared by Reminiscent ☁️ (@_reminiscentco)

Reminiscent Candles (@_reminiscentco) is run by Alyce Whitenect, a New Brunswick-based candle maker who started her business during the COVID-19 pandemic. All of her TikTok content is geared towards showing her audience the new and unique kinds of soy candles and wax melts she makes, ranging from sweet raspberry creamsicles to festive crushed peppermint. Not only does she show viewers how she makes them, but she also uses special techniques like adding whipped toppings to candles. While most videos are about creating these candles, she also has quite a few where she gives viewers some insight into what a day in her life looks like, along with some tips for aspiring small business owners. There are quite a few on “candle hacks” as well, including a very helpful one on how to fix candle tunnelling. She also has a website titled “Reminiscent” where you can purchase the majority of the candles and wax melts she features on her channel. It’s a good account to keep an eye on if you’re interested in trying to make candles yourself, or if you’re trying to get in the market for selling them as well.

#5: Bata Shoe Museum - General Admission

The Bata Shoe Museum has several different galleries open to the public, all displaying a small piece of the history of fashionable shoes through different eras, located in Toronto. (Philip Castleton/Bata Shoe Museum)

Although it’s not very well-known, the Bata Shoe Museum is a “shoe-in” for Toronto’s most unique museum! Over a thousand shoes and shoe-related artifacts are displayed in the museum’s permanent exhibition, “All About Shoes,” available for guests to view every day of the week. Tickets for students are available for $8, with this price granting you access to three changing galleries plus their permanent exhibition. Exhibitions that are on now consist of: “Dressed To Impress: Footwear and Consumerism in the 1980s,” “In Bloom: Flowers and Footwear,” and “Obsessed: How Shoes Became Objects of Desire.” You can wander around the different galleries and admire the history contained in each pair of shoes. For example, if you’re interested in floral patterns and beading, the In Bloom exhibit features these Peranakan mules from Southeast Asian Peranakan wedding garments, but if footwear from the ‘80s speaks to you instead, the Dressed To Impress exhibition showcases these Italian Gucci loafers. All the exhibitions are worth the journey, and you may even see your own shoes reflected in the countless pairs at the museum.

#6: Charlene Wong @allstylelife - DIY Arts And Crafts

@allstylelife 3 Easy Valentine’s Day treats! 💘 Melted chocolate & sprinkles does wonders 😁 1. Chocolate Dipped Pretzels 2. Chocolate Covered Oreos 3. Timbits Pops Which would you grab first? … #valentinesday #galentinesday #oreos #timbits #GalentinesDayParty #valentinesday2024 #valentinesrecipes #valentinesdaytreats #vday #valentinesdaychocolate #diytreats #dippedpretzels #dessertideas #valentinesgifts #giftideas #selflove #torontocreator #torontoblogger ♬ original sound - edun23

Toronto-based social media content creator Charlene Wong (@allstylelife) has a number of different DIY activities that you can easily do from home. While she started her account by posting content about health and exercise, now most of it is targeted toward themed holiday creations. Most videos show her preparing different foods and creating small projects for Halloween, Christmas, and Valentine’s Day. If you want some inspiration for your next Halloween costume, you can look to her 2023 fortune cookie costume, or if you want to paint something, you can check out how she transformed some cheap plastic Dollarama pumpkins into terracotta pottery barn ones. If you’re more interested in Christmas instead, she has plenty of activities to try out involving the holiday, from showing her audience how to elevate their Christmas present wrapping to painting candles (although really you can do this at any time during the year). Most recently, she has quite a bit of Valentine’s Day content posted. If you want some cute pink candy popcorn, chocolate-dipped pretzels and Oreos, or Timbit pops, look no further than some of her most recent videos. 

#7: Anice Jewellery - Your Design Workshop

Anice Jewellery offers several different jewelry-making services with both workshops and private appointments in Toronto. (Maksim Goncharenok/Pexels)

Create-your-own jewelry store, Anice Jewellery, has been around for over 10 years, offering guests a variety of services. These are mainly geared towards couples creating wedding/engagement jewelry, but it’s a memorable experience if you’re interested in booking something with your friends or a larger group too. The larger your party, the less expensive the cost, with a party of four to six people being the sweet spot—each person pays $50 plus material fees. Although this experience is the most expensive on the list, I think it can work well if you want to celebrate a birthday or a special occasion with friends. Blending creativity with fashion, it’s a way for you to decorate your body with charms and memories that are meaningful to you.

#8: Joy Of Dance Centre - Thursday Workshops

The Joy of Dance Centre is open to both beginners and more advanced dancers in Toronto. (Michael Zittel/Pexels)

Last on this list is Joy of Dance Centre, a dance studio that offers different dance workshops throughout the year. From group ballet to Irish step dancing workshops, there is quite a list of classes to choose from, but the Thursday workshops are the ones where guests can enjoy a new dance form each week. Adult tickets cost $15 for an hour-and-a-half-long session with a different instructor based on what kind of dance style is being taught that week. There is no obligation to attend every single class, as you can book an appointment each week for whatever class you’re interested in. These workshops are an excellent way for beginners interested in dance forms to learn with the guidance of a professional. Whether you go alone or with friends, this is a way for you to feel in sync with your body, moving to the beat of your own drum. 

Why Gen Z is Making Everyone Fall Back in Love With Film Photography

In a sea of advancements in cameras, film photography has resurfaced in popularity thanks to Gen Z. 

By Rachel Cheng

(Courtesy of Anthony Ung)

We’ve all seen film photos on Instagram. The warm, grainy photos always seem to promise a dreamy, carefree, and far away moment somewhere between nostalgic memories and romantic imaginations. 

According to a recent article from the Globe and Mail, it is clear that film cameras are back with the new generation, after being on the brink of extinction about a decade ago. But with all of the new advancements in phone cameras that make high resolution photos so accessible, why is Gen Z opting for older technology? 

“In film, the limited amount of shots allow you to not care too much about whether the photo was good or not, but whether the moment you caught was of value.” says Anthony Ung, a student at Western Ivey, with years of experience in professional photography. “There’s less of a concern about exact composition, and minute details. You’re able to take a step back and just appreciate the moment.”  

Ung started taking photos after the pandemic restrictions started to lift in 2021. He says that the motivation for using film cameras was from nostalgia – not from the experience of using the equipment – but rather a wish for a simpler time. 

“I think in the context of post-COVID-19, the definition of nostalgia is not necessarily defined as something that you actively lived, rather it is a yearning of normalcy,” says Ung. “I think COVID-19 just allowed people to feel a lot more sentimental towards a past, not necessarily their past. I think that cultural shift is what kind of drives the explosion of analogue.” 

Kendra Kelly Peterkin, film student at Toronto Metropolitan University (TMU), says that the medium just feels more authentic. 

“It just feels a lot more real. It takes a lot more effort,” says Peterkin. “With digital cameras nowadays, you have everything at your fingertips. With film you have to do everything yourself, so there's a lot more effort and energy going into it. It makes it more authentic.” 

Shots from Peterkin’s short film (Courtesy of Kendra Kelly Peterkin)

And a lot of the appeal also lies in the wait. 

“There is freedom in just taking photos and being like, okay I’ll just take it and I’ll see it in a few weeks,” says Ung. 

Flexibility and creativity are also learned through the wait, since the photographer is never exactly clear on what their shots look like. 

“When you [use] film you can’t see it right away, but when you get it developed and see that everything worked out fine – or it didn’t work out how you expected but it still looks good – I think that’s the most gratifying thing about film,” says Peterkin. 

But Gen Z isn’t just copying old trends, they also have a lot to add to the old medium. 

Peterkin says that they bring a lot of diversity into their films, and allow people in this generation to see themselves represented in a medium that used to be limited to certain races and classes. 

Photo of Ung’s friend stopping at a gas station before prom (Courtesy of Anthony Ung)

“A lot of my motivation, and why I started in the first place is because I wanted to bring inclusivity and diversity,” says Peterkin. “Especially growing up, I wouldn’t see people like me in film, and when I did it would be very stereotypical [...] I wanted to be able to create media that is more inclusive and accurate.”  

Shireen Agharazi Dormani, film student at TMU, also mentions that the motion picture cameras used to shoot movies on film are more accessible now to people of any class. 

“Those existed like years ago, not just anyone can have them, they’re super expensive. But now we have better access,” says Dormani. 

Through their art and passion, all young photographers, in a way, reclaim the old medium with oppressive beginnings, and shift its legacy into something more diverse and vibrant. 

But at the end of the day, the most gratifying thing about art will always be the moments and feelings they represent. 

“My favourite thing is taking photos of my friends,” says Ung. “My favourite thing I’ve done with film is just learn to appreciate moments. Passing moments. And learning to capture it in a way that is not invasive and doesn’t take away from the presentness required to go about life.”  

(Courtesy of Anthony Ung)

Shot from Peterkin’s short film (Courtesy of Kendra Kelly Peterkin)

Shot from Peterkin’s short film (Courtesy Kendra Kelly Peterkin)

Toronto Art Crawl: Empowering local artists and designers during the holiday season

Artists showcase their finest work at the Toronto Art Crawl Christmas market

By Kristian Tofilovski

Inside the Toronto Art Crawl Christmas Market, Dec. 3, 2023 (Kristian Tofilovski/CanCulture)

The Toronto Art Crawl hosted its ninth annual Christmas market, highlighting the work of more than 80 local artists and designers.

Nadia Lloyd, an artist and designer, founded the Toronto Art Crawl in 2013 to share the work of local artists and designers while also promoting culture and creativity in the city. Throughout the year, the organization holds a variety of events, including its much-anticipated Christmas market.

Hosted at the Great Hall on Queen West, vendors sold food, jewelry, home decor items, photographs and more.

The event also included a live DJ playing holiday tunes, a bar area with warm beverages and sparkling string lights dangling across the ceiling. These elements created an environment that was nostalgic, cozy and filled with the Christmas spirit, turning ordinary shopping into a joyful, multisensory experience that draws public attention.

"I've really enjoyed the vendors, the venue and the decor," said one event goer who decided to check out the market after passing by its sign outside.

A live DJ plays at the Toronto Art Crawl Christmas market, taken on Dec. 3, 2023. (Kristian Tofilovski/CanCulture)

Vendors are given great networking opportunities with consumers and fellow business owners through art markets.

"This is only my second event and I’ve already made great connections," said a vendor, commonly referred to by her nickname as Dr. Auntie Ruby, owner of Dr. Auntie Ruby Stuff. "It builds a sense of community,” she added.

Art markets also provide a platform for local artists to advocate for social causes that are meaningful to them.

Janet Holmes, a local photographer, donates her profits from selling art prints and cards of wild and rescued animals and from her book, Nest: Rescued Chickens at Home, to animal rescue. Holmes said, "I encourage people to see farmed animals differently, not just as food on our tables but as individuals with personalities."

A key goal of these art markets is to offer sustainable shopping experiences often lost in online and retail shopping, which helps preserve local businesses and culture. However, some vendors find that promoting their businesses through art markets can be costly. According to the Toronto Art Crawl website, fees for a booth start at $235, including tax.

Vendors say that sharing their products with others is a key factor to supporting their businesses.

"It doesn't have to be a grand gesture," said Cyan Hill, an ambassador for Pepper Brew, highlighting the benefit of getting the word out on social media.

Holmes said displaying artists' products in your home or at work also helps spark conversation with others and draws interest to their causes.

Lia Reyes (left) and Dr. Auntie Ruby (right) represent Dr. Auntie Ruby Stuff at the Toronto Art Crawl Christmas market, taken on Dec. 3, 2023. (Kristian Tofilovski/CanCulture)

The booth for Janet Holmes Photography at the Toronto Art Crawl Christmas market. (Photograph by Janet Holmes)

Cyan Hill represents Pepper Brew at the Toronto Art Crawl Christmas market booth, taken on Dec. 3, 2023. (Kristian Tofilovski/CanCulture)

The atmospheric and supportive shopping experiences that art markets are able to provide continue to remain unmatched. So, if you are looking for a new way to shop for the holiday season or during the rest of the year, art markets are a great place to check out!

Connecting Music and Art: Exploring Canadian Album Artworks

 Check out the evocative artwork behind some of Canada’s greatest tunes

By Sharon Arulnesan

Learn about some of Canada’s most iconic album artwork. (Sharon Arulnesan/CanCulture)

While listening to your favourite song, have you ever glanced at its album cover and wondered what the connection between the song and the artwork could be?

Often seen as supplementary to the music itself, album artwork has a dual purpose: to captivate listeners and for the musician to tell a visual story of what their music represents.

Many album covers have stood the test of time and are still viewed as some of the most iconic album art of all time. Music listeners, even the most casual, are sure to recognize Pink Floyd’s The Dark Side of the Moon's simple, yet symbolic, glass prism featured on the album cover, or the controversial baby swimming towards a dollar bill on Nirvana’s Nevermind.

Canadian musicians are no strangers to experimenting with, at first glimpse, offbeat artwork—that actually has an individualized meaning to the musician. From rock to folk to psychedelic R&B, these Canadian album covers all have a fascinating story to share.

Clouds by Joni Mitchell

Mitchell’s 1969 Clouds album artwork (Clouds via Amazon)

The Canadian folk singer Joni Mitchell has a career spanning decades of genre-shifting music, setting the stage for Canada’s alternative music scene.

The Clouds album artwork is a self-portrait of Mitchell— her first album to be a self-portrait. Mitchell is holding a prairie lily, the national flower of Saskatchewan, emblematic of her days growing up in the province.

The rich, orange-yellow sky in the artwork offers a parallel to “Chelsea Morning,” a track that is an ode to sunny mornings. Yet, as you move further down the artwork, darker colours emerge, blending themselves with Mitchell’s clothing. This sudden tonal shift could symbolize how the songs in Clouds also change into more solemn, meditative tunes. “Both Sides Now,” one of the more serious tracks of the album, is reflective of the sombre, lower-half of the artwork. The lyrics of the song ruminate on how the most joyous parts of life can also bring about the most gloom.

Fully Completely by The Tragically Hip

The Tragically Hip’s 1992 album Fully Completely (Fully Completely via Wikipedia)

The explicit artwork featured on The Tragically Hip’s Fully Completely album cover could be a nod to the more progressive culture Canada adopted during the 1990s, with a massive explosion in popularity of the alternative rock genre.

The artwork for Fully Completely was done by Dutch artist Lieve Prins and was created on a Canon colour photocopier. It may seem like a simple process, but it was actually a bit more complex than it sounds; the collage is composed of the heads of the members of The Tragically Hip and two contorted, semi-topless women, surrounded by distorted objects such as coins, flowers and sea creatures. 

At first glance, the artwork seems like a mishmash of images, comparable to works produced during the rise of psychedelic artwork during the 1960s. However, the bizarre piece was intentional, as the songs in the album are just as puzzling, if not more. The songs are reminiscent of Canadian history, told through a stream of consciousness-style lyrics. The track “Looking for a Place to Happen,” deals with the European colonization of Canada, with a scathing reference to Jacques Cartier, a French explorer who was the first to navigate the St. Lawrence River.

Secret Path by Gord Downie

Gord Downie’s Secret Path album cover (Secret Path via Spotify)

Gord Downie, lead singer of The Tragically Hip, never shied away from conceptual album artwork. Secret Path is no exception.

Based on the real-life story of Chanie Wenjack, a young Anishinaabe boy who died while trying to escape his residential school in Kenora, Ont., Secret Path aims to bring more awareness to the darker side of Canadian history and to ensure that stories like Chanie’s won’t be forgotten.

The album cover illustrates a winter scene, lined with a deep woodland, reflective of the climate when Chanie ran away from his residential school. The raven, although a symbol with differing meanings in different cultures, may allude to Chanie’s good sense of humour—in Northwest Indigenous culture, the raven symbolizes mischief and a trickster. 

The album served as inspiration for a graphic novel of the same name, detailing the life of Chanie and his escape from his residential school, featuring music from the Secret Path album and illustrations by Jeff Lemire. A film adaptation was also created, and it's divided into ten chapters, with each chapter featuring a song from Downie’s album and illustrations by Lemire, working together to tell Chanie’s story.

Dawn FM by The Weeknd

Album cover for The Weeknd’s Dawn FM (Dawn FM via Wikipedia)

The artistically ambiguous Dawn FM by The Weeknd is a more modern album that echoes themes of existentialism and mortality. The tracklist pairs nicely with an album cover that features a haunting yet fervent, aged portrait of the musician.

The artwork acts as a sneak peek into the lyrical contents of the album; the frequent motifs of death, and what it means to grow old. In the music video for the track “Gasoline,” the young version of The Weeknd is battering the old man-version of himself— perhaps emphasizing that we cannot run away from the inevitability of getting old no matter how hard we fight.

The cover could also represent the shift in The Weeknd’s discography: the gradual switch from party anthems dealing with sensual subject matters to a more mature, reflective tone in Dawn FM, illustrated by the elderly version of The Weeknd on the album cover.

Moving Pictures by Rush

Album cover for Moving Pictures by the rock band Rush (Moving Pictures via Rush)

Spanning around five decades of Toronto-based rock, Rush is only third behind The Beatles and The Rolling Stones for the most consecutive gold or platinum albums by a rock band. The artwork for Moving Pictures is just as awe-worthy as the band’s accomplishments.

A triple entendre of sorts, the red overalls-clad movers carrying paintings at first seems like an uncomplicated pun directed towards the title of the album: Moving Pictures. But, to the right, we see a group of people crying over how emotionally “moving” the paintings are. To add to the intricacy of the piece, on the back cover of the album there is a camera crew making a “moving picture” of the entire scene.

The back cover of Moving Pictures by Rush (Moving Pictures via Amazon)

Even more mind-bending, the building in the background of the album cover is no other than the Ontario Legislative Building in Queen’s Park in Toronto, a possible nod to the band’s Canadian roots.

Next time you listen to your favourite Canadian track, pay special attention to the album artwork that accompanies it. You never know what hidden messages the musician is communicating to their listeners!

‘The public has a right to art’: Review of Keith Haring’s ‘Art Is For Everybody’ on its Only Canadian Stop in Toronto

The AGO’s latest exhibit brings the protest art of Haring’s work to life 

By Anna-Giselle Funes-Eng

The AGO’s ‘Art Is For Everybody’ exhibit opened early this November and runs until March. Many of Keith Haring’s designs are featured in a wide range of merch, including this piggy bank. (Anna-Giselle Funes-Eng/CanCulture)

“Let’s go find the piece about dying,” someone said to their friend as they passed me in the hall of AGO’s latest exhibit featuring selected works from the late Keith Haring. On its opening night, the room was filled with chatter and folks moving around from room to room in the gallery. 

Haring was a pop artist active for 10 years in New York during the AIDS crisis, creating his now-iconic illustrations on public spaces like subway stations in the 1980s. 

Through the clean-cut, zig-zaggy lines of Haring’s art, the world is portrayed vividly, at its most on-edge and feeling. Many featured works represent fears of nuclear disaster, political malignancy and apartheid. 

Death, yes. But much more so, life lived while possible, life lived on a deadline set out by a careless state that didn’t care if it cut lives short. Haring’s piece mocking ‘serial killer’ Ronald Reagan was one of my favourite artworks in the entire gallery. 

Haring’s cut-out-headline work on Reagan is political dissent at its finest and funniest.  (Anna-Giselle Funes-Eng/CanCulture)

Haring’s work is instantly recognizable. The hollow outlined stick-people style he’s known, either from the art itself or your friend’s boyfriend’s t-shirt, sprawls the gallery walls and the merch shop's shelves, as you’re funnelled into the store through the exit. It’s incredible how much prolific work he managed to create in a short span of time. It’s even more staggering to think how much more work, art and life we’d have today had the AIDS crisis not been purposely mishandled. We now know that massive oversight by the United States government caused the HIV/AIDS epidemic, when they refused to initially take it seriously, according to leaked records. 

Resistance to oppressive forces in search of queer joy and liberation are intrinsic in the visuals and themes of Haring’s work. 

‘Free South Africa’ by Haring in 1985, condemning the apartheid system of racial segregation enforced by the state. . (Anna-Gisele-Funes-Eng/CanCulture)

An exhibited journal entry from Haring reads,“The Public has a right to art [...] The public needs art and it is the responsibility of a “self-proclaimed artist” to realize the public needs art and not just bourgeois art for the few and ignore the masses. Art is for everybody.”

Haring’s journal entry from October 1978, where the exhibit takes its name. (Anna-Giselle Funes-Eng/CanCulture)

With such a strong emphasis on Haring’s passion for accessible art in public spaces like subways, it’s hard to ignore the irony in the bourgeois commodification of his work present at the shop at the front of the AGO and the end of the exhibit. 

The entirety of the exhibit, Haring’s words and the volume of merch available make you wonder where the line is between creating accessibility to the art and collapsing its political symbolism. Having t-shirts or other merchandise can serve as a gateway to learning about queer history, but when does the excess of merch become overt consumerism?

Stephen Severn, an artist, PhD student and instructor at Toronto Metropolitan University, noted that the original messages of Haring’s work have been diluted despite their popularity ringing true. They say the historical context has to be considered when analyzing and consuming the art. 

“40 years later and it's still in public spaces because people are wearing it as they walk around the city […] Although I don't think that a lot of people understand necessarily the political climate that it was made in or the reasons for making the art or art as being a form of activism,” said Severn.

“It kind of becomes the Mona Lisa, just an image that's been produced constantly and kind of loses its meaning,” they added. 

Haring’s own words encapsulate the juxtaposition of the strong anti-bourgeois message in the art and the $225 French wooden chair no child would sit on willingly (for sad stiff children of the esteemed) featured in the merch stores. 

Children should absolutely learn about Haring and his art through books like the one pictured above, though I’m not totally convinced they’d want to read it from a tiny solid wooden chair. (Anna-Giselle/CanCulture)

Haring would be 65 today. He died at 31 in 1996 of AIDS-related complications. His art, life and work are not distant memories, and it’s difficult not to think about how differently the world would look if he and so many others who lost their lives to the AIDS crisis were here, living the life they deserved to. While we don’t have him here, it is integral that we honour them and learn about their stories.  

Seeing the delight of other queer folks as they explored the different sections of the exhibit and partake in that remembrance was joyous. 

The exhibit honours the basis of Haring’s work by centring the complexity of the queer experience in the explicit joy that comes from community, the joy that comes from seeking collective liberation and expressing those beliefs freely through art. 

“I am interested in making art to be experienced and explored by as many individuals as possible, with as many different individual ideas about the given piece with no final meaning attached,” he says from the wall, above a painting of Mickey Mouse pleasuring himself. 

Mickey is a recurring character in Haring’s art. At times, he appears standing in money, in an Andy-Warhol hybrid. Sometimes Haring’s depiction is used for collabs with Disney, Uniqlo and Coach.  You know, small, local, anti-capitalist brands. 

Haring did face critiques of commercialism while he was alive when opening his store, The Pop Shop in New York, according to his foundation. He responded by saying his goal was, “to continue the same sort of communication as with the subway drawings [...] to attract the same wide range of people, and I wanted it to be a place where not only collectors could come, but also kids from the Bronx.”

“No final meaning attached” leaves room for time to shift meanings. There is room to understand that a Disney Swatch with Haring’s design is not as impactful of a message as the t-shirts from the 80s encouraging people to “Act up, Fight Aids.” There is room for an interpretation that Mickey pleasuring himself represents the Disney corporation’s capitalistic craving for wealth. 

The meaning in Haring’s art may be ambiguous at times, but it extends beyond even death. His final piece, Unfinished Painting from 1989, leaves more than half of the canvas blank as paint drips down from an incomplete corner. 

Keith Haring’s Unfinished Painting was undeniably my favourite piece in the gallery. It reminds us that even in death, art and activism live on. (Anna-Giselle Funes-Eng/CanCulture)

Like all art, the meaning of this is up to you! (Anna-Giselle Funes-Eng/CanCulture)

There is no final meaning, even in death. All meaning in art is up for grabs, which Haring knew. Art is for everybody. 

Haring speaks beyond the grave; there can be no fixed or singular message. He calls us to act up, fight the power, and to do it in the community. 

And that’s a great place for everybody to start. 

Gallery visitors looked upon this piece like it was the holy grail. ‘The Great White Way’ painted by Keith Haring in 1988. (Anna-Giselle Funes-Eng/CanCulture)

People 25 and under can visit the AGO for free with the yearly youth pass. The Keith Haring Exhibit runs until March 17. 

Interview with professor Stephen Severn done by Grace Henkel

Many of Haring’s pieces depict phallic imagery, this being one of the longest showcased at the exhibition. (Anna-Giselle Funes-Eng/CanCulture)

Haring’s political messages in his art became a major slogan used in activism during the 1980s and 90s. (Anna-Giselle Funes-Eng/CanCulture)

‘Good Foot Forward’: Art Toronto Focus Exhibition Brings Visitors Down to Earth with Visceral Multimedia Works

Artists from a multitude of galleries across Canada carve a pathway through domestic spaces and handmade creation, retracing deep histories and unearthing contemporary issues.

By Grace Henkel

Art Toronto’s Focus Exhibition, “Good Foot Forward,” opened in late October (Grace Henkel/CanCulture Magazine).

Dangling from the ceilings, stretching along the floor, or creeping up along the walls, artworks at the Art Toronto Focus Exhibition generated an intimate exchange with the earth and the complex threads of human experience intertwined with it.

“Some of the works in “Good Foot Forward” direct our eyes downward toward the ground and by extension toward issues of land sovereignty and ancestral knowledge as well as the political economy of real estate, the undersides of domesticity and the labour of the handmade and assembled,” said renowned curator Kitty Scott, who brought the exhibition together.

Confronting themes like patriarchal perceptions of aging and womanhood, empowerment of queer love, and Indigenous ancestral knowledge and sovereignty to the land, "Good Foot Forward" incorporates a variety of multimedia works.

“There’s a long history of artists subverting conventions in artwork through uses of gravity,” said Jonah Strub, an artist who guided visitors through the exhibition. This has included “throwing things on the ground, [art] that doesn’t take place on a wall, that takes up space and [is] attached to the physics of the real world.”

Scott identified Duane Linklater’s “i want to forget the english language (ulterior)” as a piece that drew her to the themes explored in the focus exhibition.

“This title, written in lowercase letters, is provocative and it brings to the fore, a much larger and richer conversation about what it means to willfully want to lose a language,” said Scott.

Linklater’s piece, constructed of tipi poles, wooden and plastic crates, a museum dolly, and a chandelier suspended just above the ground, initiates tension between movement and fragility, and the deeper forces shaping contemporary life; Indigenous ancestral histories and inextricable ties to the land.

Duane Linklater’s sculpture “i want to forget the english language (ulterior)” (Grace Henkel/CanCulture)

“Diviner’s Grasses” by Charlene Vickers stands solemnly against one wall of the exhibition. The sculpture of reed-like forms is rendered from braided grasses, bamboo, strips of cotton, and human hair, mourning the tragedies of missing and murdered Indigenous women in Canada, while invoking regeneration, hope, and healing.

“Diviner’s Grasses” by Charlene Vickers contemplates grief and hope in response to the ongoing crisis of missing and murdered Indigenous women and girls in Canada (Grace Henkel/CanCulture).

Artist collaboration FASTWÜRMS explores “primordial geo-queer liberation” through their painting “Rainbow Volcano Atoll #1.” The vivid piece centres the volcano as both a generative and destructive force of nature, an allegory for realms of human self and experience intrinsically tied to the earth: queer joy, sexual euphoria and empowerment.

“Rainbow Volcano Atoll #1” by artist collaborative FASTWÜRMS, right (Grace Henkel/CanCulture)

Elizabeth Zvonar’s sculpture, “History, Onus, Old bag” calls to terminology used against women as they age, initiating a dialogue on value as perceived from outside and within. There is a stark contrast between the carpet bag, cast into a heavy, cold, unmoving shell, and the organic quality of the tree stump it rests upon.

“History, Onus, Old Bag” by Elizabeth Zvonar contemplates the weight of superficiality and patriarchal views of womanhood (Grace Henkel/CanCulture)

The process, according to Strub, represents “something that doesn’t traditionally have value,” being “[cast] in bronze to make it a commodity and a valuable object.”

Some of the “undersides of domesticity” surface with Brenda Draney’s painting “Split Pea.” The piece depicts a jarring scene of an abstracted figure in a darkened kitchen, a smattering of green escaping their blender. The piece is evocative of unexpressed anxieties and frustrations of domestic space and isolation.

Brenda Draney’s painting “Split Pea,” left, “Fell,” centre, and “Lodge,” right. (Grace Henkel/CanCulture)

Resting on a raw shipping palette, Kara Hamilton’s piece “Nothing is Wild” presses brass instruments between a canvas cushion, with the opening of the instruments peeking out underneath, vaguely reminiscent of something living and organic beneath the constraints of commodification.

Kara Hamilton’s piece “Nothing is Wild” (Grace Henkel/CanCulture)

The Focus Exhibition title selected by Scott, “Good Foot Forward,” is borrowed from lyrics in Bob Dylan’s “Gonna Change My Way of Thinking.”

“In a time of great change, high anxiety levels and deep despair, art offers a different register and new perspectives. What will lift us out of the current situation we find ourselves in?”

— Kitty Scott, curator

Kitty Scott, curator of the Art Toronto Focus Exhibition (Craig Boyko/Courtesy of Michael Usling)

CanCulture had the opportunity to do an email interview with Curator Kitty Scott, who brought this year’s Focus Exhibition together:

What conversations are you hoping to spark through the Focus exhibition?

Group exhibitions have the ability to do many different things. They call on us to think about individual art works and the distinct ways in which artists are makers. They ask us too, to look at the whole and the meaning inherent in these objects as they are read one after the other. Duane Linklater’s work is titled, “i want to forget the english language, ulterior.” This title, written in lowercase letters, is provocative and it brings to the fore, a much larger and richer conversation about what it means to willfully want to lose a language. If we start to look closely at the objects in the work we see the makings of a tipi, a dolly, a box, a chandelier….

As the Focus exhibition’s title, “Good Foot Forward” emphasizes making contact with the land and with others, how do you hope the themes explored will resonate in the post-pandemic world that is returning to tangible spaces and experiences?

Some of the works in “Good Foot Forward” direct our eyes downward toward the ground and by extension toward issues of land sovereignty and ancestral knowledge as well as the political economy of real estate, the undersides of domesticity and the labor of the handmade and assembled. In a time of great change, high anxiety levels and deep despair, art offers a different register and new perspectives. What will lift us out of the current situation we find ourselves in?

What aspects of the subject matter, whether technical or thematic, did you find most compelling when putting together the exhibition?

I greatly enjoyed the time I was able to spend with art and artists in the process of making the exhibition. Art and artists open up new ways of looking at the world. We are in immense need of new ways to see and understand the places we inhabit. I am looking to the artists.

Are there any aspects of the exhibition that resonate with you on a personal level?

In recent years I have found titles for exhibitions in the world of music. The title I used for the Liverpool Biennial, “Beautiful World Where Are You” came from a book I was reading on Schubert. “Good Foot Forward” was borrowed from one of my favourite Bob Dylan songs, “Gonna Change My Way of Thinking.” Listen to it…

Dance with Dalí: Celebrating Spanish Heritage Through Art and Dance

Immerse yourself in Spanish culture and ‘follow the beat’ of each surrealistic stage: ‘Inferno, Purgatory and Paradise.’

By Aliya Karimjee

A dancer is embracing her Spanish heritage through traditional Flamenco dance at the Divina Dalí exhibition at Brookfield Place on November 4. (Aliya Karimjee/CanCulture)

With Toronto’s artistic presence, it is no surprise that there is yet another formidable exhibition. This city has previously hosted events displaying Van Gogh, Claude Monet and other well-known artists. Comparatively, this exhibition has a twist as it invites you to discover Spanish artist Salvador Dalí’s work in celebration of Spanish Heritage Day. 

Let’s take a look inside the exhibit and review the works of the Spanish artist.

Salvador Dalí, otherwise known as the leader of the Spanish “avant-garde,” is considered to be one of the most prolific artists of the 20th century. He gave life to a new artistic technique inspired by psychoanalysis and paranoia-criticism, which all helped paint the surrealist movement. 

Seeing that rare sculpture that hasn’t been showcased in 50 years was impressive. In that piece, we learnt that the exhibition was focused on “Divina Dalí,” a collection of works by Dalí inspired by Dante Alighieri’s Divine Comedy. 

A green sculpture of a man with yellow leaves on his head, representing Dante, at Brookfield Place on November 4. (CanCulture/Aliya Karimjee)

As we enter ‘Inferno,’ we discover the purpose of this stage: to witness what Evil is and what falling feels like. 

A series of surrealistic artworks representing the ‘Inferno’ stage, at Brookfield Place on November 4 (Aliya Karimjee/CanCulture)

This dreamlike space full of symbols features many pieces unfolding the eternal punishments and penalties inflicted on people who are plagued by guilt. 

Whether you’re confused about the meaning of a piece or want more information, there is a live tour guide in every room who is happy to explain everything to you. However, if you prefer, you can scan the QR code under the art pieces and learn more about it without socializing. This exhibit is accessible to those with impaired vision who could get a live tour guide to talk them through the exhibition. 

As mentioned in the exhibition, the next stage welcomes “Purgatory, the elevation of the mind towards Paradise.” 

Multiple works of Dalí are exposed as part of the ‘Purgatory’ stage. (CanCulture/Aliya Karimjee)

Heading into the last stage, we learn how the climb from “Inferno” to “Paradise” reminds humans that they are devoted to light rather than being doomed to darkness. They can see evil yet still free themselves from the restraints of their thoughts, that there is a light at the end of the tunnel. 

This room had decorated windows with more artwork, but the flamenco performance that was taking place there was unforgettable.

The dancer was using her outfit to her benefit: her shawl allowed her to extend her movements as a continuation of her body’s expressions. The ruffled trail also gave the illusion of a nice elongated figure. 

Throughout the exhibit, you see the Dalí's work and perspectives. From Hell, all the way to Purgatory and finally into Heaven, this exhibition will take you on a journey through both Alighieri's and Dalí's creative minds. All the way through the three rooms, atendees will learn  that despite the evil, one can choose to focus on the positive and hope; basically looking at things as a glass half full rather than empty. 

The exhibition has a backdrop advertising the event and a telepoeme booth showing Dalí’s words and inspiration at Brookfield Place on November 4. (CanCulture/Aliya Karimjee)

Overall, this exhibition was a great way to appreciate Spanish heritage through live music, flamenco and with the art of an amazing Spanish artist. You can still experience Divina Dalí in Brookfield Place until December 17.

An Unseen Side of Canada at the Hot Docs Podcast Festival #HotDocs

A fresh batch of secrets from 'The Secret Life of Canada' presented at a wonderful event. 

By Hafsa Hanif 

On October 21, 2023, The Secret Life of Canada took the Hot Docs stage to record a live episode (Hafsa Hanif/CanCulture) 

A masterclass in subversion and storytelling, this beloved podcast promises to whisk you away on a whirlwind journey of laughter and contemplation. 

When it comes to excavating the cryptic chronicles of Canada, few podcasts master the art like The Secret Life of Canada. Known for its delectable blend of comedic repartee and sagacious storytelling, this podcast mines the soul of Canadian history, unveiling the extraordinary, the absurd, and the unforgotten. 

In a rip-roaring romp through the enigmatic expanse of Canadian history The Secret Life of Canada took audience-members on a journey as they recorded an episode live at the Hot Docs Podcast Festival this past October.

Hosted by Falen Johnson and Leah-Simone Bowen, the live recording pledged to excavate the world of historical heists (the Montreal 1980s Train robberies with Billy Miner), the absurdity of audacious thefts, abandoned board games that vanished like spectres (Kroeger Crokinole), and the quirky evolution of the Barbie Doll's made in Canada.

A  'doll-icious' plunge into the ever-evolving universe and a reflective investigation into Canada's colonial past.

Co-stars of the host of Secret Life of Canada discussing Barbie's history in Canada at the Hot Docs Podcast Festival (Hafsa Hanif/CanCulture)

The Secret Life of Canada podcast took listeners on an adventure through Canada’s captivating narrative, skillfully intertwining elements of colonialism and comedy that evoked both laughter and contemplation during the event. The historical exploration devolved into the intriguing stories of iconic figures such as the Tim Hortons Hockey Barbie, RCMP Barbie theme-doll and the venerable Hudson Bay Company.

Audience members were transported back to the annals of Canadian history, revealing moments reminiscent of high school history lessons or accompanying parents on a nostalgic shopping spree at Hudson’s Bay store. The live podcast recording painted a vivid tableau, evoking the sensation of sitting in a shopping cart as a child, offering company to parents while they pursued the aisles for home essentials.

As the narrative unfolded, the audience was treated to a whirlwind of discoveries ranging from the legal repercussions faced by 'Chair Girl,' who was fined $2,000 and placed on a two-year probation with community service, to the intriguing tale of a Royal Mint employee possibly smuggling out gold nuggets. The podcast also unravelled the origins of the Keg ice cream for Billy Miner and shed light on a forgotten Canadian-made game board.

This special episode covered everything from legal dramas to whimsical ice cream adventures and historical games, transforming Canadian history into a hilarious and thought-provoking experience. It was like chatting with a witty friend who knows all the juicy details about Canada's past!

Billy Miner Ice Cream pie that is offered at Keg restaurants (Hafsa Hanif/CanCulture)

Accompanied by jesters Kris Siddiqi and Brandon Hackett, the event delivered on their promise and took us through an exciting ride. One person in the audience even knew the creators of one of the board games mentioned, how fun!

Many avid listeners of the podcast joined the hosts and their guests on the live-recording. Carli Wulff, a newcomer to Canada, regularly listens to the podcast."It's been really important to find voices that tell Canadian history not from a typical western standpoint," she said.

Podcasts are usually recorded in the confines of a studio, or even on a Zoom call. Listeners rarely get to see what is happening as these voices speak into their years. Jeff Maher, appreciated the experience of watching The Secret Life of Canada being recorded live: "It's interesting to see the body language of the folks that run the show; you only get a single dimension with the podcast, but here you can see the expressions and it makes for a richer experience. I imagine when this winds up as a podcast, there will be parts cut out, and it's kinda fun to watch the transitions in real-time."

Annalise Nielson from Pacific Content said, "The visuals were a great addition. Working in podcasting, I always try to attend at least one festival event each year."

The Hot Docs Podcast Festival not only entertained, but had the audience teetering on the edge of their seats, unable to suppress bursts of laughter, an electrifying testament to the festival’s dynamic and immersive allure.

Chloe Rose, an audience member, said: "It's always gratifying to see live podcasts, it’s fun to see the recorded medium doing something live on stage and connect with the audience. I feel like a lot of podcasters are introverts, so seeing some willing to go up on stage was interesting.”

Tofu Prep, Sourdough Discard and Where to Stand When You’re Hosting a Dinner Party #HotDocs

Chris Morocco hosts a live recording of Bon Appetit’s Dinner SOS to solve Toronto’s most pressing kitchen dilemmas.

By: Mariana Schuetze and Mia Johnson 

Bon Appetit food director and host of Dinner SOS Chris Morocco discussed grated tofu and knife skills at the Hot Docs Podcast Festival on Oct. 21, 2023. (Courtesy of Hot Docs/Gabriel Li)

It’s a Monday night and you’ve already got the garlic and shallots diced up for the rose sauce. The rigatoni is on the stove; it’s already boiling. But there’s no tomato paste in the pantry. What a fucking disaster. You're considering biking down to the grocery store to pick something up, but the desire has completely escaped you. You have lost all energy to deal with the fluorescent lights and overstimulating produce section at Loblaws. Dinner SOS may very well be your only solution. 

Hot Docs Podcast festival curator Wilson Obiang deems Dinner SOS an “essential public service,” uniting all foodies. A podcast that works in tandem with home cooks and professional chefs alike, acting as a safety net in the midst of chaos. 

Bon Appetit and Epicurious food director Chris Morocco brought a delicious conversation to the Hot Docs stage on Oct. 21. Morocco was joined by Bon Appetit food editor Shilpa Uskokovic to co-host a live edition of their cooking-helpline podcast, Dinner SOS. The pair teamed up with Toronto's very own foodie Suresh Doss and cookbook author Eden Grinshpan, host of Top Chef Canada, to solve the kitchen crises on Toronto’s mind. 

This topical crew dive into the best place to stand when hosting a dinner party and how to get your guests to leave you alone when you’re still busy basting the chicken. Uskokovic suggests a collaborative idea like tacos while Morocco doesn’t trust anybody shucking his oysters.

Dinner SOS is Bon Appetit's most recent podcast venture. It premiered in November 2022 and has Morocco as the main host, who offers some well-needed cooking advice. In a usual episode of Dinner SOS, Morocco will treat each call like a therapy session for food, bringing in reinforcements from the Bon Appetit team. The recipes are then introduced and the caller will choose one or two recipes and cook them. The unique thing about this podcast is that it doesn't only offer a call-in service, the podcast hosts will follow their guests over the course of a couple of weeks to ensure their advice holds true. 

This conversation-style podcast breaks down common kitchen emergencies. They discuss cooking for picky eaters, how to incorporate more fish into their diets and treating vegetables as meat. Morocco provides not only the caller but the listeners, with simple tips from specialists that eases the daily stress of food preparation, encouraging healthy and satisfying food habits. It’s thorough and an absolute delight. 

At the Hot Docs Podcast Festival, Morocco switched things up. The two Bon Appetit hosts were joined by Toronto food specialists to have a casual conversation about food, Toronto and everything in-between. The audience had the opportunity to email questions to the panel before the event and they spent about one hour answering the questions and chatting. 

Toronto-based food writer Suresh Doss spoke on how the Toronto food scene is changing with Facebook marketplace family-run pop-ups and the dying art of traditional food media. (Courtesy of Hot Docs/Gabriel Li)

Morocco and Uskokovic interviewed Doss, a Toronto foodie, to discuss the city's bustling food scene. He brought a refreshing perspective to the conversation with the two North American food editors. Doss charmed them on one of his famous food tours, "breaking their stomachs," and wasted no time moving from one place to another – Uskokovic dubs Doss an “excellent wrangler.” 

He shows the audience that smaller communities in the GTA, like Scarborough, are instrumental to Toronto food’s community, although often overlooked. With places like New Kalyani on Kennedy Road that serve up Sri Lankan dishes like kothu, roti and egg partha; he highlights some spots closest to his heart. “This is where my mom goes when she doesn’t want to cook,” said Doss. 

The food media scene has changed drastically in the last few years. Doss, who has over 15 years of experience as a food and drink writer, commented on how rare his job is nowadays. 

"Because nobody can really afford to do what I'm doing if they don't have the car, right? I'm getting food, at this point, about 18 times a week. And who can afford to do that? And who will pay you [to do it]."

TikToks and Instagram reels are a big part of food media today, said Doss. The short 60-second videos are usually quick lists of the best places to go and Doss said he misses the human side of it – and a bit more context. "There's no story behind the owner, the story of like, why this place exists in this part of the city?"

With this in mind, he dives into the versatility and character that is missing from videos like this. Facebook Marketplace may be the best way to get a unique experience. Facebook pop-ups see new cuisines depending on the suburb. In places like Parkale where the food scene is rich in Indian cuisine or in Mississauga where we see an upsurge of Palestinian food. 

“You get this really interesting, unfiltered, adulterated regional cuisine that you will never see in a restaurant,” Doss said. "I travel quite a bit and I'm convinced that we have the most insane, dense marketplace for home-cooked meals.” 

Halfway through the event, the trio was joined by Grinshpan, who swiftly matched the group's charismatic and witty dynamic. 

Grinshpan, a mom of two young kids, said the best way to have kids engaged is to have them become part of the process. She frequently sends her three-year-old out to the herb garden to collect basil or dill or thyme to get her more involved, contributing in these small ways.

Taking pride in the food we prepare and having the opportunity to share that with others can get kids excited about experimenting with new flavours. There’s originality and care put into the food we create. 

Doss added that exposure is key. “It helps [his kid to] sort of build a relationship with what he’s eating.” 

At the end of the night, we left with a mind full of ideas and a salivating mouth hungry for more of that conversation; and a fresh oyster; or a sourdough waffle. 

Turmoil, Chaos, and The Return of the Past: Margaret Atwood on Mavis Gallant’s Varieties of Exile #HotDocs

Margaret Atwood sat down with Deborah Treisman for a short story reading in the first ever live edition of the New Yorker podcast. 

By Grace Henkel

The New Yorker’s Deborah Treisman, left, and Margaret Atwood read and discuss the short story “Varieties of Exile” (Courtesy of Gabriel Li/Hot Docs)

“I don’t welcome the return of this kind of uproar and chaos, but it looks like we’re there again.”

Canadian literary icon Margaret Atwood spoke powerfully as she sat down to record the New Yorker’s first-ever live podcast from the Hot Docs Cinema. The renowned author joined host Deborah Treisman to read and discuss Mavis Gallant’s short story Varieties of Exile, first published in 1976.

Atwood said the story “felt very timely,” a sentiment likely shared by readers and witnesses to current international crises.

“Every time a dominant power loses its grip, there seems to be turmoil and chaos,” said Atwood as she introduced the story. Though she specified no particular conflict, it is undeniable that humanitarian consequences introduced by the actions of “dominant powers” have been far-reaching and deeply felt across the world in the last years and recent weeks.

Atwood also noted that such stories and experiences from the past, whether memories or renderings in literature, become magnified in their significance as time progresses.

“At first, they seem to be very far away when you first live through them,” she said. However, she acknowledged, such events often return with profound relevance in future contexts.

Varieties of Exile is set during the second World War, told from the perspective of Linnet Muir, a nineteen-year-old Canadian woman. While being closely drawn to the refugees pouring into Montreal, she becomes disillusioned to the brutal cross-continental conflict, the divisive patterns of European-Canadian family units, and her own isolation.

As Muir develops a deep and idealistic fascination for the refugees with whom she feels “entirely at home,” she also observes the pattern of “remittance men.” They are the sons of English families, sent abroad in the wake of scandal.

Muir recalls how her childhood world and its truths were shaped significantly by narratives in literature. As Atwood reads, these narratives are stripped back to uncover stark realities. The refugees become “boring” to Muir the moment she witnesses one of them eating cornflakes, no longer a novelty–and the remittance men, as ties to their former identity weaken, are confronted with the reality of their very permanent exile.

Despite the heavy subject matter, Atwood’s sharp wit and quick humor cut through to the audience. During their discussion, as Treisman asked for Atwood’s insights on a particular moment in the story, the literary legend simply replied that she didn’t know, she didn’t write it.

You can read Varieties of Exile here.

ImagineNATIVE’s Art Crawl Leads a Vital Journey Through the Joy and Resilience of Intersectional Indigenous Storytelling

Indigenous, Queer and BIPOC creatives sparked deep reflection and passionate celebration at imagineNATIVE’s annual Art Crawl. 

By: Grace Henkel

Video and art installation “Acururar” by Ximena Velásquez Sánchez, visual artist, researcher and professor at Pontificia Universidad Javeriana de Bogotá, Colombia. (Grace Henkel/CanCulture).

Onsite Gallery: “On Americanity & Other Experiences of Belonging” 

The Art Crawl, a tour of several different exhibitions in Tsí Tkaròn:to, or the original name of Toronto in the Mohawk language, opened at OCAD’s Onsite Gallery with the exhibition “On Americanity & Other Experiences of Belonging.”

“Passing Through the Heart” by Immony Mèn and Patricio Dávila (Grace Henkel/CanCulture).

The variety of digital, sensory and multimedia installations examines evolving perceptions of and relationships to Abya Yala (or the Americas), by those who inhabit the continent. 

In “On Americanity,” Indigenous creatives and researchers from a multitude of places and perspectives, including Bacatá (Bogotá), Tiohtiá:ke/Mooniyang (Montréal), and Tsi Tkarón:to (Toronto) explore the complex realms of diasporic experience, cross-generational knowledge and healing and de-colonialism. 

“Passing through the Heart” by Immony Mèn and Patricio Dávila employs digital video essays and tangible foodstuffs to convey how meal preparation can anchor diasporic communities in memory and belonging. 

“Sans Titre” by Eddy Firmin (Grace Henkel/CanCulture).

Eddy Firmin’s “Punching Bags,” a dynamic sculpture of rotating porcelain faces, addresses colonial histories of the French Caribbean while embedding themes of reconciliation and resilience across generations.  

A Space Gallery: Celestial Bodies and Big’Uns by Dayna Danger

The artwork of Dayna Danger, a Two-Spirit/Metis-Saulteaux-Polish artist, was featured as part of A Space Gallery’s group exhibition, “Celestial Bodies.” 

Celestial Bodies and Big’Uns by Dayna Danger (Grace Henkel/CanCulture)

Danger’s photography series “Big’Uns” initiates “a feminist discourse on hunting culture,” that confronts commodifying narratives–both of people and of the land–constructed by persisting realities of patriarchy and colonialism. 

The pieces challenge preconceived notions and multilayered barriers imposed upon Indigenous and 2SLGBTQ+ folks. “Big’Uns'' comprises three life-size, standing portraits of nude subjects, their skin glowing with a sheen of baby oil and antlers placed deliberately over their bodies.

“The antlers on the bottom are kind of denying your entry,” said Danger, on how the photos confront the heteronormative, colonial gaze and create a “censor” against the labels it attempts to impose.  “For me, it was really important that the individuals fit under the umbrella of being women, or trans or nonbinary folks,” they said. “Anyone who's affected by how our sexuality is represented, especially Queer sexuality.” 

The artist also discussed how their work has been received and whether it can be considered “empowering.”  

“If you ask the individuals themselves, they would definitely say different things,” said Danger. 

Danger describes the conversation surrounding nudity and empowerment as a grey area but says that it compels the viewer to reflect on their own perceptions and biases. On the photographer-subject relationship, they added, “There’s a lot of trust you have to build.”

Danger’s exhibit also features a seventeen-minute video in which the subjects are adorned with moose antlers attached at the hips, a nod to strap-ons and other elements of erotica. 

The video records the pairs’ attempts to get close to one another, and in doing so, experiment with the combined symbols of intimacy and the natural world that they wear. As the video plays, the antlers clash and lock together at the hips of the subjects, a powerful sound that emanated through the speakers as visitors circled the gallery. 

“That’s when we’re getting really excited,” Danger joked at the sound. 

Danger’s video piece explores “themes of closeness, of Queerness, the barriers that we as Queer people face, from a Two-Spirit Metis perspective.”  

The video not only makes central the reclaiming of intimacy, joy and pleasure with the self and with others, but aims to honour the animals used to create it and by extension, the lands we live on today whose ownership and use continue to be shaped by the legacy of colonialism. 

The photo collection “Alteration,” left, and the sculpture “ATUA,” right (Grace Henkel/CanCulture). 

Trinity Square Video: “Alteration” and “ATUA”

The Trinity Square Video gallery showcased the works of FAFSWAG, an artist collective from Aotearoa/New Zealand, focusing on the intersection of Indigenous, 2SLGBTQ+ and BIPOC expression through futuristic media.

The photo collection “Alteration,” left, and the sculpture “ATUA,” right (Grace Henkel/CanCulture).

The sculpture ATUA engages visitors in both the physical and digital realms, with the full effect of the piece coming to life beneath a screen. As viewers hover a camera over the central obelisk, a 3D, extraterrestrial figure materializes in the centre of the room. 

The photo series “Alteration” also beckons viewers to engage more intimately with the artwork through digital means. The result is a revitalized rendering of pacific cosmology that illuminates the euphoria of Queer-Indigenous futurism.  

Theo Jean Cuthand’s video installation “Processing Racism Table” (Grace Henkel/CanCulture). 

YYZ Artists Space: “Processing Racism Table” 

A stark reminder of the ramifications of anti-Indigenous racism fell upon gallery visitors as they entered the sombre video installation, “Processing Racism Table,” by Theo-Jean Cuthand. 

Theo Jean Cuthand’s video installation “Processing Racism Table” (Grace Henkel/CanCulture). 

The project focuses on patterns in experiences of Indigenous people in Saskatchewan. Chairs sit vacant around a table as landscape scenes are projected onto the surrounding walls, through a screen of flickering snow. The table recreates the sensation of family-centred and communal spaces; at the exhibition, Cuthand explained that he wanted to infuse the piece with a reverence for those who anchored his communities–very often, the women in his family–into the piece. 

Voices play over the speakers inside the installation space, attesting to the pervasive nature of systemic discrimination in daily experiences and the constraints it imposes upon free and joyful living for Indigenous peoples in the province. 

Magazines from the Mariposa Folk Festival and images of Alanis Obomsawin from the 1960s and ‘70s. (Grace Henkel/CanCulture). 

Art Museum at the University of Toronto: “The Children Have to Hear Another Story”

The last stop on the Art Crawl brought viewers into an intimate exchange with legendary Abenaki filmmaker, singer, artist and activist Alanis Obomsawin. Before she was even introduced to the crowd, the artist had visitors’ eyes locked on her, listening closely as she presented pieces from her vast body of work and even recalled profound personal memories and dreams. 

Magazines from the Mariposa Folk Festival and images of Alanis Obomsawin from the 1960s and ‘70s. (Grace Henkel/CanCulture).

From hand-stitched children’s toys to musical recordings, to segments of her films, including “Mother of Many Children,” Obomsawin’s works trace her extensive achievements from the 1960s to present day. The exhibition compels visitors to reflect upon the artist’s powerful storytelling, as well as the persistent vitality of Indigenous art and discourse that continues to cultivate learning and healing.

As the event came to a close an organizer noted, smiling, that Obomsawin, 91, had been up and dancing to music just before the Art Crawl visitors arrived.

‘The start of an era:’ How collectives are transforming the gallery

Bonafide collective is challenging traditional art spaces by incorporating live performance and obscure displays

By: Alexa Fairclough

Organized Chaos featured performance by pole dance artist, Madison Evoy (Courtesy of Chinelo Yasi)

With each new generation of artists and galleries, a familiar double bind appears that sees youth surpass the confines of institutional art. From the same age-old tension between the new and old that beget Monet’s impressionism, Picasso’s cubism and Duchamp’s ready-mades, Bonafide was forged. 

Bonafide is the collective love child of four young, artistic, queer women curators in Toronto. Their first ever show together, Organized Chaos, debuted in a former Curry’s Art Supplies on Queen St. W. on March 10-11. Organized Chaos hosted a wide array of artists from traditional painters to installation artists, photographers, performance artists and DJs. One could watch a painting, be exposed to the scent of fresh paint and witness the very creative processes that lead to great art.

The future of Bonafide knows no bounds. This young collective shows that the Torontonian culture is immersive and has the possibility to be expansive. The atmosphere of the event intensified as time passed and the audience grew. Though it was a gallery space, it still had the same atmosphere of a party. The electronic dance music added an ambiance to the event that engaged the senses and made one feel as if it wasn’t daytime in a residential area. Alcoholic drinks were available to purchase, which only enhanced the night-life feel. With each new artist, a vignette into a different world was opened, yet there was still a cohesion throughout the event. As the theme of the show was revealed in its title, Organized Chaos, it was up to the individual viewer to decipher the images that they were viewing.

Canculture writer Alexa Fairclough met with the curators to discuss the creation of Bonafide’s debut show, Organized Chaos. The four curators, Sarah-Emmanuelle Ruest, Halle Hirota, Erika Lindberg and Jahliya Daley, work full-time while following their dreams. In terms of roles, they have an egalitarian ethic that encourages responsibilities to be equally among the collective. Artists themselves, Hirota and Lindberg had work on display in the show. By day, Ruest (Guelph ‘19) is a freelance producer, Hirota is a multimedia artist, Lindberg (McMaster ‘19) is director of communications at Underscore Studios, and Daley (Laurier ‘21) is a media and production specialist at Underscore Studios. By night they are the curators of Bonafide.

Artwork by photographer Kirk Lisaj displayed at Organized Chaos (Courtesy of Chinelo Yasi)

Get to Know the Curators:

How did Organized Chaos come to be?

Lindberg: We wanted to create a new experience for people who haven’t had access to displaying their work in professional spaces. We want artists to feel like they are gaining something and not that they are being taken advantage of. This space is meant to encourage the artist to sell and showcase their work.

Ruest: Halle and I have worked together in the past and ran an event after COVID-19. It was a huge success as everyone was eager to be out after being in the house. The goal of the show is to allow artists to display their work free from financial barriers.

What barriers did you face?

Lindberg: We worked with the venue owners before and got the space without financial constraints. It’s hard to establish a gallery that is diverse and intersectional in the art forms people are used to in traditional galleries.

Ruest: We use ticket sales to cover expenses that they cannot afford in the first place. It was really hard to get grants and partnerships from the government in a short time frame; it’s really hard for young artists to find funding.

Hirota: Time and energy. The bylaws in regards to having a gallery and party space in one. We want it to be a family-friendly space, but we have pole dancers and DJs. We want to change the way that art is experienced and how people create.

Where did the creators come from?

Hirota: We pulled from our immediate community because it required trust.

Daley: Social media also played a very big role. It connected us with future artists based on what we see from others.

Do you feel that your artists reflect the diversity of Toronto?

Ruest: To an extent. It's hard to ask others to be a part of something without the money.

Lindberg: With limited financing, we needed a network of people that can be trusted and we were heavily reliant on favours. The point of this is to be able to grow funding.

What does this experience mean to you?

Hirota: So much. The start of an era.

Lindberg: People deserve to have great access to art. We want people to have a positive community in Toronto. We want people to feel that they can succeed at home. Community does not have a space, it is a feeling.

Ruest: We want to create more access for people to get paid or recognized for their work. It’s beautiful to see artists come together and work with each other. We made a gallery that is about community versus one person’s space. We don’t want Toronto artists to feel like they have hit a plateau and then go abroad. Where is the feeling of support/connection abroad?

Daley: It's a tangible thing that came from the community. There's a sense of love in coming together, truly.

What does the future hold for your collective?

Lindberg: More activation and bigger reach. 

Hirota: Our main goal is to pay people for making art and to expedite the process of getting paid for art.

Ruest: Two activations in ideation for April. We’re planning an indoor/outdoor collaboration hopefully with the City of Toronto. We also want to reach untapped artists. Most importantly, we want to allow people to be able to create what they want for money.

Get to know the Artists:

There were quite a few immersive artists featured at the exhibit including Joy, an Egyptian experimental computer and performance artist who submitted both an immersive art piece and a pole dancing performance to the show. Joy’s immersive piece in which a musical keyboard — with each key corresponding to a different image projected onto a screen, rather than a note — invited viewers to challenge their conventional notions of which senses should be engaged when using a musical instrument, bringing together the visual and the tactile. As more and more keys were pushed, images continuously overlayed each other in an excellent work of media.

Although Organized Chaos transformed the way art could be displayed, there was still a section that adhered to tradition. 

Artwork by painter Daniella Williams displayed at Organized Chaos

Daniella Williams (Guelph ‘19) is a contemporary figure painter. Her display at Organized Chaos contained painted vignettes that allowed the viewer to peer into the daily lives of everyday citizens, rather than the often noteworthy figures exhibited in traditional settings. Her work was detailed, yet elusive, thanks to her ambiguous broad strokes that left the faces of the subjects vague. This allows the viewer to imagine themselves or people that they know in the piece. She displayed couples spending quality time together, families at the beach, sweet memories that remind the viewer of happy days and spending time with the people that they love.

There was also a mixed media piece by Lxyxt (pronounced Light), a multi-media artist who explores decolonization represented by RAW artists — a network that provides independent artists with local and international exposure. Floating sculptures seemingly defied physics, a welcomed alteration on the way one traditionally expects to experience art. The heavy objects floated in the air and told a story that started in the skies and continued to the floor. The sense of movement conveyed by the works was magnifying  — not only do you need to walk around in order to get a sense of its magnitude, but the aerial proportions added large amounts of spatial depth that truly transcends the piece and the gallery space as a whole.

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As for the art of performance, Lou Rouse used her entire body as a canvas and even worked in an outfit that appeared to be made out of canvas, utilizing her corporeal self  to create an ephemeral art piece. In a performance piece filmed by video creator Grae, Rouse flitted throughout the piece, applying pressure to the canvas to deepen her marks, and flowed melodically to the music. 

The artist appeared to be in a total state of Zen as she made her mark on the canvas with every tool she had — even those not conventionally used to make gallery art, like her body. Her work conveyed the message that the body is art and art is within us; it is not something that can be segregated from the human experience. Even on a less hyperbolic and metaphysical level, she said we do not need anything outside of ourselves to enrich our lives, a message that is seldom conveyed in an era where mass commercialization creates ads out of everything.

Organized Chaos was a show for everyone, collectively constructed by every type of artist. The four co-curators came together to create a sold out show which was visionary in nature. It brought together both performance and visual arts, making the attendees stop and ponder how these two cohesive forms of creation could have ever been segregated. If you didn’t happen to catch this event, do not be dismayed; while Organized Chaos was one of one, Bonafide has just begun.

Review: Experiencing ancient artistry through Michelangelo’s Sistine Chapel

Making Michelangelo’s greatest works accessible to cities across the world, this exhibition brings the world to Rome

By: Teresa Valenton

A lifesize print of Michelangelo’s “Punishment of Haman” stands on the right-hand wall of the Sistine Chapel exhibition. The scene narrates three episodes of the story with the crucifixion of Haman in the centre, with dramatized depictions of the story. (Teresa Valenton/CanCulture Magazine)

Attendees take a step up close to the Vatican at the travelling Michelangelo’s Sistine Chapel exhibition, showcasing the grandiosity of Michelangelo’s works in the Sistine Chapel. Whether or not visitors have been to Rome, the globally successful exhibition has made its way to cities around the world.

From London to Shanghai, New York, Brisbane and Mexico City, many have stepped forward to immerse themselves in the rich history of these works.

Brought to life using special printing techniques, the exhibition displays each work set to size. Through high-definition photos, visitors are given an opportunity to observe the feel of the original pieces. Additionally, each image is accompanied by a QR code that gives attendees an in-depth explanation of each piece.

The travelling exhibition is stationed in countries around the globe. With overlapping exhibition times, cities such as Amarillo, Lisbon and Vienna welcome the photos. Upon entrance, visitors are met with a brief video that describes the history of the Chapel. They’re encouraged to gain a wider understanding of the exhibition by breaking down the importance of the works and learning the historical and biblical context of each piece.

History reaches thousands as over 34 reproductions of Michelangelo’s works are broken down into several sections, each curated to weave every painting into a common biblical theme, while the exhibition space narrates the Chapel through sub-categories.

The Stories of Genesis are displayed on the ceiling of the Sistine Chapel exhibition. Michelangelo’s depiction of biblical scenes in the context of the Chapel drives viewers to further understand the importance of these works. (Teresa Valenton/CanCulture Magazine)

Notably, the Stories of Genesis are set in the order of the Chapel across the ceiling. Implemented into three sub-categories — “Creation of the Universe, dominated by God as the main figure,” “Creation of man and original sin, dominated by man and woman as the main figures” and “The fall and first rebirth of man through the stories of Noah” — attendees can begin to understand the narratives behind Genesis. 

Other sections include “The Prophets and Sybils” and “The Ancestors of Christ.” Displayed in the original order of the Chapel in Rome, viewers are able to walk through the exhibition and take in each story at their own pace. 

For an in-depth audio and visual experience, discover more about Michelangelo’s greatest works at the Sistine Chapel Exhibition on their website here.

Beyond the surface: Embracing imperfection in art with McKyle Byard

Exploring art and identity, this Oakville artist challenges perfection and encourages self-expression through his art

By: Ionna Hipolito

McKyle Byard, is holding a hand-drawn, unnamed piece of artwork created using pencil crayons, marker and pen. (Courtesy of McKyle Byard)

Championing his mistakes and creating art with his flaws, up-and-coming Canadian artist McKyle Byard blurs the lines between traditional and contemporary art forms.

Originally from Oakville, Ont., Byard began and grew his art career in Grade 6 when he was inspired by a classmate, taking stock of a variety of artistic interests until he discovered his unique personal style. Since then, Byard has explored many mediums, such as pen and pencil drawing, digital art, image collaging, 3D work, and Photoshop.

But he approaches art with a more abstract technique and doesn’t aim to depict an accurate representation of the real world. He emphasizes shapes, textures and other visual elements within his work and embraces each imperfection in what he calls his “ugly” art.

While some artists pursue perfection and strive to create a flawless representation of their vision, Byard doesn’t give himself any guidelines. The artist doesn’t conform to what society considers good and bad.

“I make my own rules,” said Byard. “I’m a big fan of not erasing. The marks you make are the marks you have to work with, and that creates a more personal and easily identifiable piece. It’s something that can’t be recreated by someone else.”

The artist appreciates when fellow creatives can express themselves how they see fit, and while guidelines can provide direction and structure, they can also be restrictive. Byard says he’s not afraid to incorporate mistakes and varying perspectives and experiences into his work.

Byard explains how his identity as a person of colour and a member of the queer community influences the art he creates. “I am not afraid to go crazy and go at it … Being a member of the LGBTQ+ community, you’re already judged from the get-go. Just let the ideas and your personality and expression flow out naturally”

He says imperfections can add depth and show character in someone’s art, making it more engaging. Rather than viewing mistakes as flaws that take away from the overall quality of work, they can be seen as a way to imbue it with personality.

By embracing those imperfections, people can look beyond the surface of a piece and connect with it on a deeper level, invoking the wide array of emotions that all art can produce.

While Byard waits for his breakthrough as an artist, he leaves himself open to any opportunity. He ideally sees himself in the future at a place where he can work for himself, one day fulfilling his dream to create a large, eye-catching mural.

The marks you make are the marks you have to work with, and that creates a more personal and easily identifiable piece. It’s something that can’t be recreated by someone else

“It would definitely be a fun, time-consuming thing to do. I can be anywhere in the future so long as I’m creating something with meaning and getting some kind of joy and fulfillment from that.”

Byard says he strives to depict freedom of expression in his artwork. “Don’t be afraid to do something ‘incorrect,’ and embrace that. Realize that that’s you and work with what you create. I’ve met a lot of artists who are so serious about being perfect. It’s a good skill to have, but for me, it takes the fun away,” he says.

One of the artist's least favourite parts about the vocation is the impostor syndrome, often doubting his accomplishments and feeling undeserving of his success.

“To get out of that bubble, you have to remind yourself to do what you do, for you. It will bring you fulfillment, and you joy. Other people enjoying it is just the bonus.”

A close-up of a hand-drawn, unnamed piece of artwork using pencil crayon, marker and pen created by McKyle Byard. (Courtesy of McKyle Byard)

Byard’s current favourite piece is an unnamed drawing that depicts two friends unwinding by smoking weed.

“They’re essentially high, which is why [there’s] all that [wildness] around them, the sky is static, and I wanted to make the world look like it was warbling to show their distorted sense of mind.

“The piece doesn’t necessarily have a ‘meaning.’ It’s more so a scene that I wanted to illustrate, but in a way, you can feel a sense of friendship between the two.”

Byard’s love for this piece comes from the time he spent creating it. “It shows my style; it shows the ugly. I wasn’t really planning it out — I feel like it encapsulates my entire style in one piece.”

For other young BIPOC artists who hope to enter the art industry, Byard advises them to create art that represents their authentic selves. “Don’t take yourself so seriously; embrace your imperfections and make it a part of your style,” he says.

“Use it as a way to inspire … and appreciate the artists around you.”

TMTC’s Something Rotten! is anything but rotten

Welcome to the renaissance: A world of camp

By: Nalyn Tindall

Graphic by Sama Nemat Allah/CanCulture

The Toronto Metropolitan Theatre Company (TMTC) has done it again with their recent production of Something Rotten!, a comedic Broadway hit set in the 1590s during the Shakespearean era. The show, originally written by John O'Farrell and Karey Kirkpatrick, chronicles brothers Nick and Nigel Bottom as they attempt to establish themselves in the theatre, eager to write something even greater than Shakespeare himself. With the help of a soothsayer, the first musical is born. Something Rotten! is a joyful and outrageous spectacle full of upbeat tunes and dance routines that the TMTC cast brings to life. 

Hunter Moore and Isaac Van Deven lead the cast as the aforementioned siblings, struggling to compete with their rival, the one and only William Shakespeare played by Grace Johnson. Moore’s performance as Nick is a standout, delivering a humorous and endearing portrayal of the protagonist, desperate to outdo the infamous Prince of Poets. Moore’s strong vocal chops and assertive nature in the role sold the show and drove the story forward. Van Deven’s performance is equally impressive as Nigel, who becomes smitten with a Puritan girl named Portia, played by Charlotte Johnson. He delivered emotional vulnerability, creating a sense of intimacy with the audience and adding a much-needed heartfelt storyline.

But the talent doesn't stop there. Natalie Doherty gave an outstanding performance as the hilarious Nostradamus, truly stealing the show with her song “A Musical,” a comedic masterpiece and my favourite number of the night. Doherty was the personification of camp and executed perfect comedic timing, took risks that paid off and fully committed to an absolutely outrageous character, bringing the audience wholly into the Something Rotten! universe and providing laughs any moment she stepped on stage.

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Other honourable mentions go to Adam Rose as Shylock, the Jewish moneylender and theatre patron — and the butt of many damaging antisemitic jokes —, Cooper McCrory as Brother Jeremiah, the puritan leader, and Arina Behroozi as Bea, Nick’s wife. The three were equally committed to their roles and embodied their characters to the fullest. Although secondary characters, their memorable performances gave a spark to an already theatrically-illuminated show.

The ensemble was vocally strong and helped bring the story to life. Their enthusiasm, whether singing or dancing, was radiant. The choreography, unfortunately, became overambitious at times. When executed well, the large choreographed numbers push the show over the top, such as in the opening number, “Welcome to the Renaissance.” At other times, the dance numbers felt as if they needed more rehearsing, becoming distracting from the songs themselves. The tap core added a touch you don't anticipate from an amateur musical and was well executed.

The show's design is also worth mentioning, the strongest aspect being the costuming. The costumes were cohesive, paying an accurate homage to the setting of the play. I also appreciated the attention to colour, pairing couples with colour themes, such as Nick and Bea who coordinated in red garments.

The lighting was well done and didn’t distract from the show; however, it could've been used to a fuller extent. The use of the disco ball added a fun twist, but I would've appreciated more effects, such as the green lighting and fog used during Nostradamus visions. The set design was also confusing at times; the pieces used to represent different settings were not always clear. Fortunately, this was only a minor flaw in an overall solid two-and-a-half hours of entertainment.

Ultimately Something Rotten! was a ridiculous renaissance romp. From the talented cast to the catchy tunes and clever writing, the show has something for everyone. TMTC executed the show delightfully, and practically had the full house roaring with laughter. If you're a fan of musical theatre or just looking for a good laugh, then Something Rotten! is the show for you.

From Gears to Gallery: A visit into Gallery Hardware Contemporary

From a hardware store to an art gallery, the unique space will always be open to it all

By: Rowan Flood

The exterior of the General Hardware Contemporary art gallery, which was once a hardware store, on Feb. 27, 2023. (Rowan Flood/CanCulture Magazine)

"When we got the building, everybody tried to talk us out of it," says Niki Dracos, the owner of the General Hardware Contemporary. Her large gold earrings and long brown leather coat sway as she talks about the many warnings she's received in her life — "don't go to art school, don't open a gallery." She hasn't listened to most of them.

Located at 1520 Queen St. W. in the Parkdale neighbourhood of Toronto, Dracos bought the former hardware store almost 15 years ago, transforming it into her diverse gallery. Growing up near Lansdowne after her parents emigrated from Greece, she knew she wanted her gallery in the west end of the city. Her speech animates as she describes the first time she saw the "cool and scary" place that later turned into the gallery. Although filled with leftover tools, measuring tape, hammers and boxes of nails and bolts, Dracos was undeterred.

"I fell in love with the kitsch, nostalgic aesthetic of the hardware store," says Dracos.

After 20 years in the design and advertising industry, Dracos felt ready to pursue her "passion projects." Her humble demeanor is evident as she describes her successful no-alcohol art show openings and post-opening dinners at small local Tibetan restaurants. She appears flustered when asked if she would ever show her own work in her gallery —  the answer is no. Although she designs every day, when she looks at her old pottery work she doesn't recognize herself in them.

The open-to-public Gallery Hardware Contemporary is one floor of exposed brick, wooden floors and white walls lined with art. Small lights angle down from the ceiling, highlighting pieces while forming shadows that become part of the art-viewing experience. A small original brick hallway separates the front and back rooms, and a mysterious stairwell leads down to a small room where visitors can continue to look at art. While the gallery is small, there is also virtual viewing offered that allows more art to be showcased, yet Dracos still prefers viewing in person.

The energy, the buzz and the people make the gallery and openings exceptional, explains Dracos.

"You feed off of each other," she says.

The interior of the General Hardware Contemporary art gallery on Feb. 27, 2023, where the current exhibit is being slowly transitioned into another. (Rowan Flood/CanCulture Magazine)

People fill the room at an art exhibition opening at Gallery Hardware Contemporary in 2014. (Courtesy of Barbara Dosen)

The gallery primarily held solo exhibitions, but since reopening after their pandemic closure, catching up on years worth of work means showcasing multiple artists and their varied styles. Exhibiting art from artists from British Columbia to New York, and Berlin to France, the gallery offers a diverse experience.

Dracos welcomes every art form at the gallery. She has curated exhibitions of sculptures, photography and paintings, and has even gone so far as to build extra walls for projecting video installations.

Dracos says the process of attaining art is an extreme joy. She goes to shows, scours online doing research and uses her art-world connections. Whether an artist is emerging, mid-career or advanced, Gallery Hardware Contemporary supports them all.

The current show is titled "Light" and features multiple artists.  The works within the exhibition have varying layers or elements of translucency, allowing light and shadows to play a key role within the piece.

As she looks at a painting with green and white shapes that overlap each other, Dracos explains its making.

"This is acrylic pulled through a screen," says Dracos.

Her voice softens and breaks into silence occasionally as she talks while looking at the art, "It's very beautiful…and joyful somehow."

The gallery and its collections are created with obvious passion. Dracos describes the art in intimate detail as she walks around her space looking at numerous works and artists. As she points each individual piece out, she characterizes them with love and appreciation:

"All hand printed with oil-based ink on really fine Japanese paper … an embroidered digital image ... I love the gestural quality here."

Dracos talks about how the gallery has become a place where families and young people stop in as they pass by. She welcomes those that come with an intention to view art as well as those who simply stumble upon the gallery. The space is made to allow people to connect with art emotionally and ignite conversations. The gallery is constantly evolving, and Dracos has "hundreds of ideas" about where she envisions things going. For now, General Hardware Contemporary is a place with many possibilities and potential directions, and as it rotates through various themes and styles, one thing is for certain: it forever embodies an unwavering commitment to art.

Artist, Stanzie Tooth’s, installation exhibition “Indelible" in Gallery Hardware Contemporary in 2022. Photo Credit: Toni Hafkenscheid

Celia Neubauer’s exhibition “Advance” in Gallery Hardware Contemporary in 2020 the year of the exhibition. (Photo credit: Laura Finlay)

Two art pieces hanging in the gallery space on Feb. 27. 2023. From left to right: from artist Dan Climan, titled “The only picture I took” and from artist Celia Neubauer, titled “Breakage.” (Rowan Flood/CanCulture Magazine)

The vibrant piece titled “Manufactured Landscape,” by artist Joe Fleming was made in 2021. (Photo Credit: Joseph Hartman)