Heather Goodchild and Margaux Lenore Smith present a colorful, soothing, and thoughtful exploration of the various stages of life in their latest collaborative exhibition, The Spinner The Dealer The Assassin at the Clint Roenisch Gallery. This exhibition reflects on the canonical phases of existence by drawing inspiration from the ancient Greek myth of the Three Fates, referenced in its title, who symbolically oversaw the beginning, duration, and end of each human’s life. Ultimately, the works of both artists emphasize that while life encompasses a myriad of experiences, beings, and psychologies, it inevitably unfolds through defined stages.
Installation view of Heather Goodchild’s and Margaux Lenore Smith, The Spinner The Dealer The Assassin at Clint Roenisch Gallery
In exploring the theme of life, Goodchild’s documentation of the fire at St. Anne’s Anglican Church depicts a simultaneous resurrection, as regardless of where the viewer begins the narrative, the concept is present. If starting from the left, we encounter the church standing solitary, illuminated by a dim yet foreshadowing light above its entrance. This series unfolds an organic progression through the stages of life, from its silent beginning, culminating in chaos in the middle and finally arriving at a calm conclusion, where the church is reconstructed, becoming symbolic of healing and growth.
Alternatively, starting from the right, the narrative unfolds with the initial phase of the church’s reconstruction, presenting itself as seemingly cohesive, yet still fragile. Next is chaos—an inherent aspect of a well-lived life—appearing more random than consequential in this narrative. Nevertheless, its unexpected presence reflects life’s inevitable yet unpredictable challenges. This message is solidified by the conclusion of this narrative on the left, as the church remains resilient and resolute.
Heather Goodchild, St. Anne’s May 5th, 2020, each panel: oil on board 4 x 6 inches
Still, the differing narratives relate to one another as Goodchild presents her documentation of the church from various angles, reminding us that we should approach life and its experiences from multiple perspectives if we wish to find rational solutions, an incentive for resilience, and a way to cultivate empathy for others.
Margaux Lenore Smith’s oil paintings explore life from a female perspective by highlighting the perception of the body and emotions through her color palette. Pieces like Self Portrait with sprouted onion (2022) and Shadow (2022) share similar motifs and a mellow vibrancy. However, these works transcend their playful appearances, inviting viewers to engage with them on a deeper level, as they evoke thoughtful and empathetic responses. The piece that vividly encapsulates this sensation is Mother (2025), a captivating new work by Smith that truly distinguishes itself within the show. In this artwork, two contrasting nudes of women collaborate to symbolize the changing perception of women’s bodies throughout their lives. The woman on the left lies confidently, gazing directly at the viewer. Bold tones illuminate her as she holds a strong pose. This woman is aware of her presence and power as two observers stand mesmerized beneath her. In contrast, the woman on the right stands upright, with a hand resting on her pregnant stomach. Her face is hidden in cold shadows, making her unidentifiable and unobjectifiable to the audience below. By placing these contrasting figures at the same level, the artwork suggests a sense of equality between them, emphasizing the duality of femininity.
Margaux Lenore Smith, Mother, 2025, oil on canvas over panel, 12 x 16 inches
Smith’s Mother comments on how women’s identities evolve and how different life stages influence society’s perception. The artist highlights the constraining societal norms surrounding age and appearance, particularly regarding beauty standards and desirability.
The centerpiece of The Spinner The Dealer The Assassin is a charming collaboration between the artists. Tower (2025) combines Smith’s bright, serene feminine world with Goodchild’s transformative structures.
Heather Goodchild’s and Margaux Lenore Smith’s Tower, 2025, 6 x 6 x 8 feet. Exterior: ink and watercolour on silk; each 10 x 12 inches
A series of watercolor scenes on silk screens by Smith adorns each side of the wooden monument. Within the structure, a more playful world emerges, revealed only by a small mirror positioned above the top, enabling viewers to contemplate this captivating creation. Together, the two artists have crafted a portal to a whimsical dimension where time is contained, uncertain, and perhaps, irrelevant, making Tower a counter-complementary message.
Heather Goodchild and Margaux Lenore Smith Tower, 2025, interior: acrylic on wood, porcelain, papier mâché, wool, linen, cotton, human hair, hemp rope (on the top)
To fully appreciate the lovely details and figures that line the interior, I recommend visiting the exhibition at the Clint Roenisch Gallery.
Antonella Pecora Ruiz
Images are courtesy of Clint Roenisch Gallery.
*Exhibition information: Heather Goodchild and Margaux Lenore Smith, The Spinner The Dealer The Assassin, April 3 – May 31, 2025, Clint Roenisch Gallery, 190 St Helens Avenue, Toronto. Gallery hours: Wed – Sat 12 – 5 pm.