JJ Lee: Combo #1, a Solo exhibition

Wednesday, September 19, 2018 - 10:00am to Friday, November 9, 2018 - 6:00pm

Redeemer Art Gallery is pleased to present a solo exhibition by OCAD University Assistant Professor JJ Lee.

Through mixed media paintings and drawings, JJ Lee explores the “chop suey”, hyphenated culture that is created when East meets West through immigration and colonization. 

“ReOriented” is the centrepiece of the exhibition: a scroll extending over 60' of gallery space, engaging the 1000-year-old Chinese tradition of hand scrolls. The piece appropriates images of Chinese-Canadian food such as Sweet & Sour Chicken Balls, juxtaposing them with 'authentic' Chinese food such as road duck hanging in a window.

Exhibition continues through November 9th, 2018
Gallery Hours: Monday - Saturday, 9 am - 10 pm.

Venue & Address: 
Redeemer University College, Ancaster, ON, On campus in the art gallery
Combo #1, Exhibition poster, embroidery on white fabric

For the time being, a solo exhibition by Ginette Legaré

a ball of tagled colourful wires, a metal object and a glass sphere
Thursday, March 23, 2017 - 6:00pm to Saturday, April 29, 2017 - 5:00pm

Opening reception on Thursday, March 23, 2017 from 6 to 8 p.m.

Birch Contemporary is pleased to present For the time being a solo exhibition by Toronto-based artist Ginette Legaré. Legaré’s new sculptural works mine what remains available in reused objects and materials after their initial inscription in, and erasure from, more functional work sites. In these sculptures and installations she continues to expand her search into the often overlooked and elusive relations among objects within the various social, material, and historical contexts they occupy. Essentially, as she puts it “Though much has been said about objects, they remain disarmingly intriguing. They compel me to engage with the ideas, perceptions, and other intangibles they inevitably host.”

The artist would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario. 

Gallery hours are Wednesday to Friday: 10 am to 6 pm; Saturday: 11 a.m. to 5 p.m.

For more information visit:






Venue & Address: 
Birch Contemporary 129 Tecumseth Street Toronto, ON Wednesday to Friday: 10 am to 6 pm Saturday: 11 a.m. to 5 p.m.

Salt Cure, a solo exhibition by Toko Hosoya

Saturday, December 10, 2016 - 12:00am to Sunday, January 1, 2017 - 4:00am

Join Toko Hosoya, a second year OCADU Illustration student in this Solo Show at Mark Christopher Gallery in Toronto. 

About the artist:

Toko Hosoya is a Japanese-born Canadian illustrator whose youth belies her talent to put on paper her imagined worlds in a technically stunning and rigorously detailed manner. Not to mention her capacity for humor. Toko’s fantastic worlds are as inviting as the things we are told to stay away from as children are alluring. They are curious expanses of wilderness and fun but not without the possibility of hurt, of real danger. Be it the encroachment of a seemingly benevolent mushroom on a human face, or an angry moth man chasing moth children, Toko’s illustrations, some of them as small as 15” x 7”, are like distillations of a well-thumbed childhood favorite. As with such picture books visited years later, Toko’s illustrations make what must have been once obvious obscure and the frightening playful.

About Salt Cure:

Toko works in a variety of different mediums, ranging from sculpture to illustration, using materials such as felt, ink, and truth. Often in her work, a powerful tool of manipulation becomes a site of honesty, where she communicates her innermost thoughts and feelings. A ceramic deity, or a fantastical story become ways through which she can explore truth, and challenge its many perceptions. By fantasizing the mundane, and fusing the past and present with fantastical narratives, the images invite the viewer to consider the extent to which the unreal is woven into their reality. In doing this, Toko hopes to better understand her place in the world and to encourage others to take a look at the absolutes in their lives - with a grain of salt.

Through Salt Cure, I am continuing my examination of the idea that truth and reality are things we choose. It seems to me that facts don’t have much power in the way of beliefs, and the intangible plays a powerful role in the world as we know it. The namesake of the exhibition refers to two things. Consuming salt triggers the release of dopamine in the brain and the addictive, primal satisfaction it brings can be seen as a salt “cure”. On the other hand, curing salts are used in preservation to prevent or slow decomposition by bacteria or fungus. During my period of salt addiction, I was essentially salting and suspending myself in a state of stagnation. Choosing the easier narrative to simply put my mind at rest ultimately resulted in something more like poison than a cure.

Humans are seemingly inclined to see narratives where there are none. Oftentimes, a way for me to feel that I have control over the world is by fitting things into a narrative that’s easier to accept. Humans have been telling the same stories for millennia, perhaps because stories allow people to find patterns where there is chaos. I feel that this dependency on narratives is more pronounced in children. They have the benefit of not knowing what is not possible, so they can live in a more fluid world where the impossible happens. Even in adulthood, this mindset can still manifest in many of the things that we do. While the illustrative scenes seem to be out of a fairytale, a darker undercurrents imply that what was playful in youth can turn much more deadly in adulthood. 


via Mark Christopher Gallery
poster via 

Venue & Address: 
Mark Christopher Gallery, 825 Bloor St. West, Toronto, ON
Salt Cure

Newzones is pleased to present "Chrominance", a solo exhibition by Anda Kubis, Faculty of Art

Series of colourful abstract digital paintings installed in a gallery
Wednesday, November 9, 2016 - 5:00am to Saturday, November 26, 2016 - 5:00am

Newzones is pleased to present "Chrominance", a solo exhibition by Anda Kubis.

October 22, 2016 - November 26, 2016

--> Anda Kubis    in attendance -->Artist reception: Saturday, October 22, 2016, 12:30-3:00 PM

Part of the new Abstraction movement in Canada, Kubis continues her play with colour, space and illusion. Due to the prominence of colour in her work, her research considers how a conscious engagement with aesthetics and creativity positively impact human flourishing and quality of life.

In addition to her painting practice, Kubis explores new media through a digital process that creates the foundation from which this new body of oil paintings and digital prints are produced. In finished form, the digital paintings exist beyond the screen where they are entirely informed by the digital software, chroma and layers, which modelled their creation. Although inspired by a digital source, the colour is material and substantial. The luminance - the glow within - is created through Kubis’ intentional play on hue and value perception. Colour is a positive means of aesthetic expression through mixing new and traditional approaches to image making.

Born in Toronto, Ontario, Anda Kubis received her BFA from Nova Scotia College of Art and Design and her MFA at York University. For eight years, Kubis taught at York University and at the University of Lethbridge in Alberta. Currently, Kubis is the Associate Dean of Outreach and Innovation in the Faculty of Art at OCAD University. In this role, she manages and develops the many external relationships that support rich opportunities for students and faculty members in the Faculty of Art.

Kubis' paintings have been widely exhibited across Canada in numerous solo and group exhibitions. Her work can be found in private and corporate collections throughout North America.


Venue & Address: 
Newzones 730 Eleventh Avenue Southwest Calgary, Alberta, Canada

Uniformitarian Principle

Uniformitarian Principle
Friday, November 28, 2008 - 5:00am to Saturday, January 3, 2009 - 5:00am

Angell Gallery in Toronto is pleased to present “Uniformitarian Principle,” the first solo exhibition by new gallery artist and current OCAD student, Min Hyung.

Drawing from the energy of the unpredictable yet inevitable geological events that contour the earth, Min Hyung’s spontaneous/logical paintings address the indelible links between our past and the present. Like tectonic plates, the varied layers of paint shift over one another, creating rumblings and disturbances, constructing and deconstructing spaces and depths. Each layer—whether composed of fine, linear drawings; thin washes of colour; or chunky, generous dabs of paint—alternately emerges or disappears in relation to one another. Among these shifting layers lies an exploration of the evolution of need and an awareness of how these emergent desires alter our environment.

Hyung describes her brightly coloured paintings as worlds of motion, flux, shifting languages—old and new—and contemporary references that are evolving and finding new translations. The canvases speak both to physical structures and to the foundations upon which contemporary society is built: the desire for and pursuit of protection, of secure living spaces. The sprawling villas, the cars, the idle times by the poolside, she suggests, are gestures back to humanity’s long-fought odyssey for comfort and shelter. Deploying these contemporary visual references—architecture, luxury commodities—Hyung’s paintings are concerned with space and how space can describe us individually or collectively, as a culture.

The most striking element to Hyung’s work is perhaps the vibrant populations of her signature “blobs” which undulate through paintings like Oe Island or Where is "In the line of fire playing" in glossy waves. The blobs operate as a language through which the viewer is invited to navigate and resolve the painting: they form sentences, statements, and stories; they play against each other, humming, conflicting, stimulating, and unifying in a gestalt of colour. Ultimately, each bright marble of paint relates to one another individually and communally; they each require space, have their own evolutionary needs, and yet exist necessarily within a collective.

In Blow Spaces Away From The Whirling Blades of The Fan and The Curtain Rises, the blobs are openly connected to the individual; they exist within the sinuous outlines of swimming and diving female figures. The contrast of these organic figural lines with sharply geometric architectural lines references our longing to exist within a golden mean of carefully articulated spaces. In the end, Hyung’s vivid and shifting picture planes address the search for a balance in our environmental desires. We exist simultaneously within our own bubbles of physical and psychological space as well as within the spaces needed to be part of a collective culture and society.

Originally from Seoul, South Korea, Min Hyung is a Toronto-based artist.

Venue & Address: 
Angell Gallery 890 Queen Street W, Toronto, Ontario

Ron Shuebrook

Thursday, December 4, 2008 - 5:00am to Saturday, January 17, 2009 - 5:00am

Olga Korper Gallery in Toronto presents work by OCAD Professor Emeritus Ron Shuebrook.

Venue & Address: 
Olga Korper Gallery 17 Morrow Ave., Toronto, Ontario

Particles & Light

Particles and Light
Saturday, October 25, 2008 - 4:00am to Saturday, November 22, 2008 - 5:00am

Newzones is pleased to announce a solo exhibition of new paintings by Anda Kubis entitled 'Particles
and Light.'

As part of the New Abstraction movement in Canada, Kubis continues her play with colour, space and
illusion. In 'Particles and Light', the paint application has become more painterly and improvisational
than previous bodies of work. Kubis continues to capture a screen-like illumination from within the picture
but now the light clusters and refracts across the surface of the canvas.

The paintings in 'Particles and Light' make allusions to microscopic vision and visual models used in science. Kubis is interested in the invented pictures that are used to illustrate and demonstrate complex
concepts in scientific theory. This new body of work expands upon Impressionist concerns but where the
Impressionists interpreted their landscape as a means of embracing the impact of the camera, Kubis is
inspired by the abstract realm of digitally generated images.

Artificial colour is combined with natural, neutral tones to create shifting, slippery spaces where the
viewer feels they are on the verge of making something out. In 'Particles and Light' Kubis attempts to
make paintings that sneak up on you, that invite you to linger longer in solving the mystery before your

As one of Canada's notable mid-career painters, Anda Kubis' new exhibition is one not to be missed.
Born in 1962, Toronto, Ontario, Anda Kubis received her Bachelors of Fine Arts from Nova Scotia College of Art and Design in 1987 and her Master's of Fine Arts from York University in 1992. Her paintings have been widely exhibited across Canada in numerous solo and group exhibitions. Much has been written about Kubis' work including a 2004 review in Canadian Art Magazine. Anda Kubis is currently an assistant professor at the Ontario College of Art & Design.

Venue & Address: 
Newzones 730 Eleventh Avenue SW, Calgary, Alberta

Hebron : In The Eye of The Storm

Saturday, November 1, 2008 - 4:00am to Friday, November 28, 2008 - 5:00am

Voices Forward is proud to present works by Israeli and Palestinian groups and individuals that deploy media in the art of resistance. This year’s events include Hebron – In the Eye of the Storm, an exhibition curated by OCAD alumna Henrjeta Mece. The multi-media installation employs photography and video projections to present amateur images of soldiers and civilians screened aside acclaimed video artist Richard Fung (Professor at OCAD) and a recent broadcast initiative from the city of Hebron.

The Exhibition features:
PROJECTED PHOTOGRAPHS from Breaking the Silence an organization of veteran Israeli soldiers who have documented interviews with hundred of soldiers who have served in the Occupied Territories during the Second Intifadah and ActiveStills, a group of Israeli and Palestinian documentary photographers who focused on the last forty years of history in Hebron. The images were prepared by photographers Miki Kratsman and Eldad Rafaelie.

JEHAD IN MOTION: Jehad Aliweiwi is a Palestinian Canadian who lives in Toronto and regularly returns to visit his family in Hebron. The compelling video projection is a double portrait of the man and the two cities he calls home. Jehad synthesizes the challenges and possibilities in these two very different but overlapping worlds. Jehad in Motion ruminates on diaspora urban space and the interpenetration of politics and cultures. It is also an intervention into the practices of documentary media, portraiture and installation art.

HBRON STORIES: Three short films Introduction, Tel Rumeida and Error from the Israeli human rights organization B'Tselem. In January 2007, B'Tselem launched "Shooting Back", a video advocacy project that provides Palestinian families who live in close proximity to settlements or military bases, with video cameras to film their reality.

HEB2: An experimental community channel www.heb2.com broadcasting over the Internet the daily life in the Israeli-controlled (‘H2’) sector of Hebron, Palestine. Involving its residents as both film subjects and filmmakers, Heb2 is an experiment in documentary filmmaking.

Venue & Address: 
XEXE Gallery 624 Richmond Street West, Toronto, Ontario

Sounds for the Post-Apocalyptic Man

Saturday, October 18, 2008 - 4:00am to Saturday, November 22, 2008 - 5:00am

Pari Nadimi Gallery in Toronto is pleased to present a solo exhibition by OCAD Faculty of Art Instructor Joe Hambleton, born 1982 in Windsor and based in Toronto, Canada.

Sounds for the Post-Apocalyptic Man (2008) is an installation that attempts to capture the social commentary and personal reflection that takes place within science fiction. Hambleton references the Cyber Punk genre of Science Fiction, creating his vision of a futuristic Dystopia that reflects the conflict and misinterpretation of his childhood while growing up in the suburbs of Windsor. Through the juxtapostion of a series of videos and illustrations, he imagines how a series of cultural references from early 90’s television might be reinterpreted in a post-apocalyptic future and could affect the rebuilding of society. These cultural references have been chosen to represent key points in his childhood mentality, each consecutively mapping out the imagination and misconception of the time.

Sounds for the Post-Apocalyptic Man is Hambleton’s second work in a series of installations that attempts to question what autobiographical work can be. It’s his attempt to create a narrative about himself that’s more relatable and interpretable to a larger audience, while allowing him to see the long-term influence of pop-culture on his life.
Hambleton has been showing his work internationally, recently screening his previous video series, Walking Through, in Beijing (2008), Abu Dhabi (2006), Prato (2006), and Nottingham (2006).

Venue & Address: 
Pari Nadimi Gallery 254 Niagara Gallery, Toronto, Ontario

Paulette Phillips: "History appears twice, the first time as tragedy, the second time as farce."

phillips invite
Saturday, March 29, 2008 - 4:00am to Saturday, April 26, 2008 - 4:00am

Diaz Contemporary is pleased to announce artist Paulette Phillips' second solo-show with the gallery. Phillips has established an international reputation for her tense, humorous and uncanny explorations of the phenomena of conflicting energies. This highly anticipated installation, features new work in sculpture, photography and video that documents residual emotion and presence. The work continues Phillips_ interest in the contradictions that play out in our construction of stability.
_History appears twice, the first time as tragedy, the second time as farce._ is inspired by the poetically tragic aura that surrounds E 1027, a villa on the Cote d_ Azur built by architect and designer Eileen Gray for her lover Jean Badovici in 1929. Having built the house as a romantic getaway, Gray eventually walked away from her labor of love. For a period of time it then became known as Le Corbusier_s house, while Gray languished in obscurity.
Shell, a thirty-two minute video shot on location by Phillips and Robert Lee, contains traces of Gray_s original vision. In tracing the evidence of abuse the house has endured since its sensuous beginning, the video captures an emotional topography that lies beneath the villa_s structure to renegotiate the enduring legacy of Gray_s modernist gem. This extensive footage captures the house before it underwent the contested renovation that restored Le Corbusier_s controversial murals.
The Egoist/Lover, is an elegant reworking of Gray_s original Satellite mirror that she designed for Badovici_s bedroom. Phillips_ motorized mirror shies away from the viewer_s gaze. Touché traps two magnetized books, Le Corbusier_s The Poetics of Metaphor with Gray_s monograph Eileen Gray within a cage. One book hovers over the other repelled by its negative energy field. Knock Knock is a series of three gyclee prints produced from collaged photographs that document the complexity of presence still evident in the villa. The Rubber House is a tactile and mutable model of the villa that sits on two dissonant colour fields.
The exhibition draws from the personalities, emotions and histories that surround both architects by heightening the covert and inherent tensions that defined their practices and mark this house as a haunted site. The works in the installation align to narrate the faded tenets that fueled this vision of modernism, capturing on video and through objects, the idea of the house as a ruin wrought by conflicting energies.
Paulette Phillips_ work has been featured in solo exhibitions at Danielle Arnaud contemporary art; The Oakville Galleries; Cambridge Galleries and The Ottawa Art Gallery. Recent group exhibitions include: Gallerie Chomette, Paris; The Canadian Cultural Centre, Paris; The Power Plant, Toronto; ZKM, Germany; Kunsthaus Graz, Austria; Heidelberger Kunstverein, Germany, Ludwig Museum, Hungary and the Palazzo della Papesse, Italy. Phillips teaches film and installation at The Ontario College of Art and Design. Upcoming commissions include: The Walking Fern, solar powered robotic ferns to be installed at the Tatton Park Biennale, Britain, May _ September 2008; and Fashion and Crime that will premiere at a screening at The Tate Modern on May 10th 2008.
This work was made possible by the support of the Ontario Arts Council_s Chalmers Arts Fellowship, the Canada Council for the Arts and The Toronto Arts Council.

Venue & Address: 
Diaz Contemporary 100 Niagara Street, Toronto, Ontario
Gallery hours: Tuesday to Saturday 11 to 6 or by appointment