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Silver Editions - Traces

A new limited edition collection of Silver Editions (unframed) prints curated by Gallery TPW’s President Magdalyn Asimakis brings together works from celebrated artists Nadia Belerique, Erika DeFreitas, and Celia Perrin Sidarous.

Traces is a selection of photographs that reflect on human touch, presence, and absence. A concise group of images by established Canadian artists, these works explore how ancient landscapes, geologies, and material techniques hold remnants of multigenerational contact.”

– Magdalyn Asimakis


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Nadia Belerique

Buoys 3, 2016
15.5 x 23.5 inches


Nadia Belerique’s Buoys 3 is part of a larger body of work exhibited under the title “Bed Island.” Those two words suggest the contradictory feelings of intimacy and isolation, which characterize this image of objects floating in an indeterminate space. The unusual perspective—items such as a shoe and a beer bottle are seen from below—and the imposition of a semi-opaque sheet of plastic accentuate this unfixed quality, which implies movement and impermanence. The objects corralled here may soon slide into a different arrangement or be replaced altogether, an apt metaphor for the fluidity of both identity and psychological states.


Nadia Belerique is an interdisciplinary Toronto-based artist who holds a BFA from York University and an MFA from the University of Guelph. She has won the Toronto Friends of the Visual Arts Artist Prize (2015), the BMW Exhibition Prize at CONTACT Photography Festival (2014), the Ontario Arts Council Visual Arts Grant (2013), and the Toronto Arts Council Emerging Art Award (2012). In 2014, Gallery TPW hosted a solo exhibition of her work entitled “The Counselor.” Belerique was longlisted for the 2017 Sobey Art Award.

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Erika DeFreitas

She may be moved and they multiplied most in exaggeration. (No.2), 2018

13.5 x 21 inches


She may be moved and they multiplied most in exaggeration. (No. 2) emerges from a new body of work by Erika DeFreitas, produced during a residency in a historic manor in Scotland. Continuing to explore her keen attunement to certain objects—working to access their energies and histories—the Scarborough-based artist has turned to psychometry: a nineteenth-century-born practice of reading an object’s psychic imprint through the act of touch. In the multi-image series of She may be moved, each print articulates one of DeFreitas’ psychometric gestures: touching, placing, holding, arranging, and rearranging these found artifacts with dedicated care and focus. Together, these images accumulate into something akin to a choreography of intuition, offering an alternative photographic framework for representing histories and memories that could otherwise be left unseen, unfelt.


DeFreitas holds a Master of Visual Studies from the University of Toronto (2008). Her work has been exhibited locally and internationally. In 2017 she was longlisted for the National Gallery of Canada’s Sobey Art Award and she is the recipient of the MacLaren Art Centre’s 2016 John Hartman Award.

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Celia Perrin Sidarous

Agora antique, Athènes, 2016

16 x 19.25 inches


Agora antique, Athènes (2016) is part of her series Notte Coralli, first exhibited at the most recent Montreal Biennale. Large stones give evidence of both human intervention, in their right-angled edges, and the natural erosion that has altered them across millenia. Dusty pinks, warm grays, and a soft-blue sky bring to mind family-trip photographs shot on Kodak Ektachrome, a film stock that was immensely popularduring the second half of the twentieth century. The ancient Greek agora was a gathering place; in filtering the present through past eras, both recent and antiquated, Sidarous performs her own act of gathering.


Montreal-based artist Celia Perrin Sidarous uses photography, film, sculpture, and installations to reveal the layers of meaning that accrue to objects over time. Her meticulous arrangements, both within individual images and in her exhibitions, juxtapose the personal and the historical, the modern and the ancient, the ephemeral and the enduring. In bringing disparate items and scenes together, and by unifying them through her choices of composition and palette, Sidarous short-circuits our attempts to find specific references. Instead, her work evokes atmospheres—alternately light-filled and slightly melancholic, as in many of her landscapes, or tenebrous and reverential, as in her still lifes.​

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Silver Editions - Speculative Landscapes


A new limited edition collection of Silver Editions (unframed) prints curated by Gallery TPW’s President Magdalyn Asimakis brings together works from celebrated artists Catherine Telford Keogh, Isabel M Martínez and Dainesha Nugent-Palache.

"Speculative Landscapes is a selection of works that engage in diverse photographic techniques. Martínez, Nugent-Palache, and Telford Keogh each take their own distinctive approach to considering the natural world, how it is represented, and how it may exist in alternative spaces.” 

– Magdalyn Asimakis

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Catherine Telford Keogh

XHesperidesX. Sunlight® Shine, 2019

21 x 14 inches


Working in digital collage with stock photography and elements of corporate design, Catherine Telford Keogh’s multifarious practice digests and metabolizes these otherwise bland capitalist aesthetics into something potent, strange, and playful. Telford Keogh is also known for large-scale sculptural works that juxtapose industrial materials with seemingly “consumable” goods such as hot dogs, dill pickles, Advil gel capsules, and sugary cereal. In XHesperidesX. Sunlight® Shine, an otherwise picturesque sunset is riddled with an absurd array of tiny corporate logos, YouTube screengrabs, and other distorted images, perhaps like a post-capitalist atmospheric event or a Google Image Search absorbed into rainfall. A reinterpretation of an earlier large-scale digital collage by the artist,  XHesperidesX. Sunlight® Shine features a custom acrylic intervention into the frame of the work, referencing the cocktail of an industrial cleaning agent and a Monster™ Energy Drink that partially submerged Telford Keogh’s earlier piece.


Toronto-based artist Catherine Telford Keogh (born 1986) received her MFA with a focus in sculpture (2011) and she also holds a Concentrated Master of Arts in Women, Gender and Sexuality Studies (2013), both from Yale University. Catherine has also been a guest speaker at various universities including Western University, University of Toronto, University of Waterloo and Yale University. In 2018, she was the Artist-in-Residence at the University of Ottawa.

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Isabel M. Martínez

Speculation #1, 2020

11 x 14 inches


Isabel M. Martínez’s work deals with the aspects of experience where the real, the known and the imagined blend. Perception is a recurring theme within her practice. This is paired with an ongoing interest in ideas concerning notions of time, space, simultaneity, and duration. Her visual interpretations are informed in part by science, philosophy, and fiction. Process and experimentation with the qualities of analogue photography are at the forefront of much of Martínez’s work. This leads to hybrid exercises and abstractions, and to the making of images rather than the taking of photographs. Through these channels, her work engages with the uncertain amid the assumed and probes the boundary between abstraction and representation. 

In Speculation #1, light and the film negative are featured as substance and malleable materials. A glowing semicircle emerges from a brushed space of textured colours reminiscent of wind blowing through a field of blues, ochres, and cool greys. The semicircle acts as both an object and a passageway.


Isabel M. Martínez is a Toronto-based artist who spent her formative years in Santiago de Chile. She has exhibited nationally and internationally in museums, artist-run centres, and biennials. Notable exhibitions include the Museo Nacional de la Fotografia (Bogotá), Tenerife Espacio de las Artes (Tenerife), Gallery 44 (Toronto), Theoretische Kunstprojecte (The Hague), Proyectos Solís Arte Contemporáneo (Madrid), and the Art Museum at the University of Toronto. Upcoming shows will take place at Angell Gallery as part of the CONTACT Photography Festival 2021. 

Her work has been featured and reviewed in print and online, and placed on the cover of books, journals, and magazines. Recent publications include FOAM Magazine, The Creators Project, The Huffington Post, Fast Company, Prefix Photo Magazine, and a collaboration with the Center for Quantum Nanoscience at Ewha Women’s University in Seoul. This fall, her work will grace the cover of the Literatur in Wissenschaft und Unterricht’s issue on the subject of ‘Multinarratives’. 

Martínez holds a BFA from Universidad Católica de Chile and an MFA from the University of Guelph, Canada.

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Dainesha Nugent-Palache

Fauxmo, 2018                                          

23.5 x 15.25 inches


Fauxmo emerges from a recent suite of works by Nugent-Palache that interrogate the synthetic or incomplete ways the artist has been able to access her own heritage as a Canadian born 
in a diasporic Jamaican family. As the artist playfully upends photographic structures of 
framing, depth, and flatness, the fragmented houseplants in Fauxmo suggest a placelessness experienced by many first-generation Canadians: both here and elsewhere, tied to two countries yet rooted in neither. Like the title’s allusion to an oft-referenced condition of contemporary life—FOMO, or the fear of missing out—Nugent-Palache uses sumptuous colour and distinctive framing to produce an evocative world that we can never fully access.


Lives and works in Toronto. Through her performative video works and photographs, Toronto-based artist Dainesha Nugent- Palache explores the dichotomies and paradoxes inherent in representations of Afro-Caribbean identity. Her practice is concerned with visualizations of Black diaspora across pasts, presents, and speculative futures, producing portraits and other still life-based works. With an exuberant approach to colour and display, Nugent-Palache’s work often negotiates with forms of glamour, excess, and other photographic strategies inherent to the visual cultures of capitalism.

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