by Emily Kovacs
In Salazar’s artwork, I enjoy stories that unfurl all over and all at once. His goal of getting me back in touch with my ability to access childlike curiosity and wonder was definitely realised.
by Brinae Bain
Both shows at the Ryerson Image Center feature strong photographic works of women with agency, yet at two polarities, forcing the viewer to face reality with the cult images of glamour past
by Vanessa Zeoli
Hodgkin’s expressive pieces, in combination with his majestic collection of Mughal paintings, work cohesively to offer visitors two distinct but equally relevant perspectives of a culturally rich nation.
by Tetyana Herych
In the exhibition, Caravansary of Joy, Murphy and Langer carry out the idea of Mentalphysics with their compact cohesive pieces, dispersed in a rhythmic way throughout the gallery.
by Rumaisa Baqa
Draz’s work consists of a lot of experimenting, she is not your average artist. Her work focused on city landscapes, perspective and investigate potential parallels between drawing, body and buildings
by Emily Kovacs
I leave the Canadian Sculpture Centre thoroughly impressed by the society and the array of works that their members have created. There is so much talent, emotion, variation and variety on show in Eyes of March.
by Kurt Rostek
I sit here in the midst of a powerful vision with a quiet violence, almost reverential…and am in awe.
by David Saric
The paintings of the four artists: Joseph Cach, Ashley Johnson, Mahmoud Meraji and Marcelo Suaznabar are visually united through their uncanny subject matter, evoking images of fantastical landscapes and imaginary beasts
by Emese Krunák-Hajagos
“In my paintings the beauty is in looking and not necessarily what you are looking at….What matters to me is how these things are given shape through the fundamental principles of light.”
by Josephine Mwanvua
Sally Thurlow currently has her solo show, titled At The Root, in the Red Head Gallery, that brings up present-day environmental problems as well as feminist issues.
by Tetyana Herych
Fischer reverses the time saving process of printing art on demand, and decides to become the tool itself, that produces on demand.
by Simon Termine
What becomes increasingly evident throughout Coupland’s works is his injection of personal perspectives, criticisms and obsessions, rather than adhere to more common arguments.
