Image: Katherine Melançon, Nature morte - Champ des possibles, 2017


Photorama 35

Collector's Preview: November 18, 2021

In-gallery and online exhibition and sale: November 19 - December 4, 2021

Gallery Hours: Wednesday – Saturday, 11am – 5pm

Gallery TPW’s annual fundraising exhibition Photorama returns for its 35th year with a not-to-miss collection of contemporary photography and lens-based art by over 50 artists.


Sales from Photorama directly support our charitable mandate of exhibiting underrepresented artistic and curatorial practices that push the boundaries of lens-based work. 


NEW this year is Photorama Editions - a curated collection of ten small works each priced at $120 or $1,000 for the full collection. Photorama Editions features: Isabel Okoro, Eve Tagny, Elizabeth Milton, Juan Ortiz-Apuy, Celia Perrin Sidarous, Ananna Rafa, Kotama Bouabane, Christopher Lacroix, Chris Shepherd and Jocelyn Reynolds.  

Photorama 2021 features works by: 

Alex Jacobs-Blum // Ali Bosworth // Alison Postma // Alyssa Bistonath // Ananna Rafa // Andrea Chartrand // Bidemi Oloyede  

Blair Swann // Camille Rojas // Caroline Monnet // Claude Labrèche-Lemay // Darren Rigo // Elisabeth Belliveau // Erdem Taşdelen Farihah Aliyah Shah // Fehn Foss // Graeme Wahn // Hannah Claus // Hannah Somers // Holly Chang // Jennifer Murphy

Jessica Thalmann // Josée Pedneault // Justin Aranha // Karen Zalamea // Karice Mitchell // Katherine Melançon // Leyla Godfrey Liza Eurich // Morris Lum // Nathan Cyprys // Noah Friebel // Patrick Cruz // Ryan Van Der Hout // Sara Angelucci

Scott Benesiinaabandan // Shaheer Zazai // Shannon Garden-Smith // Susy Oliveira // Timothy Yanick Hunter // Tom Hsu 

Virginia Mak // Xuan Ye.

For more information regarding the Collector's Preview, please email, Noa Bronstein, Executive Director: noa @

Thank you to our Collector's Preview sponsors: 

the Butcher shoppe logo
Junction Fromagerie logo

Photorama Editions

Chris Shepherd, Villa-Maria 2, 2015

10 x 8 inch inkjet print, edition of 15

About the artwork: The Villa-Maria Metro station is located in the Côte-des-Neiges–Notre-Dame-de-Grâce neighbourhood of Montreal. The station opened in 1981 and the graphically-striking, minimalist design and celebratory colour scheme borrow from the mid-century modern, which never feels out of style. The Metro is imbued with a triumphant sense of nostalgia, like so many other practical and pedestrian spaces.

Toronto artist Chris Shepherd, uses photography to document the urban. His approach is directed by composition, colour, and form—and largely influenced by contemporary architecture, painting, and sculpture. For the past decade, Shepherd has focused on capturing pedestrian life in isolated moments of tranquility. Empty subway platforms, vacant storefronts, forgotten industrial spaces, or simply the abandoned nooks and crannies of ordinary spaces, all become subjects of interest.


Shepherd’s work has been exhibited across North America and is included in major corporate collections in Canada and the United States.

Jocelyn Reynolds, ingress, 2015


10 x 8 inch Epson Hot Press Bright paper, edition of 15 

About the artwork: 
I was in Mexico City, on a mission to slow down and tune into my own radio. What that ended up looking like, in practice, was me dancing at queer parties until dawn. There’s a regenerative catharsis in sweating it all off on the dance floor. In those spaces I felt a sense of community, a sense of sanctuary, a feeling that transcended geography. I unexpectedly found the inner quiet I was searching for.


That stillness made room for an active sensorial engagement with my environment that extended beyond looking. I was listening to space with intention, to what was around and between, pouring my attention into sites where light, colour, and texture collided. The image is a portal into such a moment, an invitation to the viewer to enter with imagination into the experience of that unfolding event. In bringing presence to this interaction, an inanimate scene comes alive.

Biography: Jocelyn Reynolds creates visual records of the overlooked. Interested in the way documentation confers importance on a subject, what and how we see is the motivating force of her practice. Jocelyn offers moments of stillness and connection as active resistance to the noise of our restless world. Her work is an ongoing exploration of externalizing the internal and of looking into the realm of the unseen.

Kotama Bouabane, Ice Study #2, 2021

11 x 8.5 inch digital archival print, edition of 15



Artist Statement: Ice Study #2 is part of a series of images documenting my Laotian family ice fishing on Ouentironk, which translates to “Beautiful Water” by the Wyandot (Huron), known today as Lake Simcoe.

Biography: Kotama Bouabane has an MFA in Studio Arts, Photography from Concordia University, Montreal and an AOCAD from OCAD. His work has been exhibited in many galleries including Centre A (Vancouver), The New Gallery (Calgary), and VU Photo (Quebec City). He has received many awards and grants from the Toronto Arts Council, Ontario Arts Council, and the Canada Council for the Arts. He lives and works in Toronto.

Celia Perrin Sidarous, Pedion tou Areos, Athènes, 2018/2021

10 x 7.6 inch inkjet print on matte paper, edition of 15



Artist Statement: A photograph of a branch strewn about a tiled marble path at the Pedion tou Areos park in Athens, Greece. The park was initially designed in 1934 in memory of the Greek Revolution of 1821. 

Biography: Celia Perrin Sidarous (1982) is an image-based artist living and working in Montréal. Her works have been featured in solo and collective exhibitions in Canada and abroad: McCord Museum, Centre CLARK and WWTWO (Montréal), Embassy of Canada Prince Takamado Gallery (Tokyo), Norsk Billedhoggerforening (Oslo), CONTACT Photography Festival, 8-11 and Gallery 44 (Toronto), Arsenal Contemporary (New York), Esker Foundation (Calgary), Dunlop Art Gallery (Regina), Banff Centre (Banff), and VU (Québec). Her work was included in the Biennale de Montréal 2016 – Le Grand Balcon / The Grand Balcony, at the Musée d’art contemporain de Montréal. She was long-listed for the Sobey Art Award in 2019, and is the recipient of the Prix Pierre-Ayot 2017, as well as the Barbara Spohr Memorial Award 2011. Her works are present in public and private collections, most notably at the Art Gallery of Ontario and the Musée d’art contemporain de Montréal. She is represented by Bradley Ertaskiran in Montréal.

Eve Tagny, NW Landscape, 2021
8 x 10 inch Hahnemule Photo Rag 308 mg, edition of 15



Artist Statement: In our constructed cities bound to decay, lichen and moss mend stone – turn it back into sand – recreate micro ecosystems – mend our current and future ruins.


Biography: Eve Tagny is a Tiohtià:ke/Montreal-based artist. Her practice considers gardens and disrupted landscapes as mutable sites of personal and collective memory—inscribed in dynamics of power, colonial histories, and their legacies. Weaving together lens-based mediums, installation, text, and
performance, she explores spiritual and embodied expressions of grief and resiliency in correlation with nature’s rhythms, cycles, and materiality.


Tagny has a BFA in Film Production from Concordia University and a Certificate in Journalism from the University of Montreal. Recent exhibitions include Musée d’art contemporain de Montréal and Centre Clark, Montreal; Cooper Cole, Gallery 44, and Franz Kaka, Toronto. She is the recipient of the Mfon grant (2018), the Plein Sud Bursary (2020) and has been shortlisted for
the CAP Prize (2018), the Burtynsky Photobook Grant (2018) and the OAAG Award (2020).

Juan Ortiz-Apuy, Midnight Poison, 2020
8 x 12 inch digital archival print, edition of 15



Artist Statement: Midnight Poison is part of a series of works exploring the language of advertising, design and commodity fetishism, specifically the visual rhetoric that often imbues brand and product identities with notions of naturalness, freshness, tropical exoticism, and sensuality. Similar to contemporary depictions of products online, the objects and scene have been completely constructed using computer software. Midnight Poison depicts a number of consumer bottles in a photography studio in the midst of a shoot. 


Biography: Juan Ortiz-Apuy is a Canadian-Costa Rican artist who has been living and working in Tiohtià:ke/Montreal since 2003. His work has been exhibited across Canada and internationally in venues such as Les Abattoirs Museum of Modern and Contemporary Art (France), IKEA Museum (Sweden), Pamflett (Norway), DHC/ART (Montreal), Owens Art Gallery (Sackville), Carleton University Art Gallery (Ottawa), MOMENTA Biennale de l’image (Montreal), Quebec City Biennial: Manif d'art 7 (Québec), Truck Contemporary Art (Calgary), Museum London (London), Gallery 44 Centre for Contemporary Photography (Toronto), VOX Centre de l'image contemporaine (Montreal), and The MacLaren Arts Centre (Barrie).

Ortiz-Apuy has completed several artist-in-residence programs, most notably at The Vermont Studio Center (USA), The Frans Masereel Centre (Belgium), and the Guldagergaard International Ceramic Research Center (Denmark). His work has been reviewed in various publications such as Canadian Art, MOMUS, esse arts + opinions, The Gazette (Montreal), Public Parking, and Le Devoir (Montreal).

Elizabeth Milton, The Bottom of the Fountain is Painted Turquoise, 2019

8 x 12 inch inkjet print, edition of 15



Artist Statement: The Bottom of the Fountain is Painted Turquoise is the result of an artist residency Milton participated in during the fall of 2019 at Artscape Gibraltar Point on the Toronto Islands. Focused on the carnivalesque nature of Centreville’s manicured gardens and beach-fronts and the crumbling, cosmetic decay of the architecture of leisure, the work collides the concept of an empty pool with the immersive fantasies of colour-field painting, green screen technology, and the illusions of commercial display. Iterated through digital collage, sculpture, video, and installation, The Bottom of the Fountain is Painted Turquoise attempts to wild the manufactured landscape into a site of maximalist play.


Biography: Elizabeth Milton is a performance and media artist who lives as an uninvited guest on the unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ (Tsleil-Waututh) First Nations in Vancouver, Canada. Her video and photo-based works utilize absurdist character-play and camp materiality to explore identity and affect. Through hyperbolic expressivity, comedic excess, and processes of endurance, Milton examines the performative potential of maximalist femininity, novelty store glamour, and the garish refuse of commercial culture. Her work has been exhibited and performed in Canada, The United States and Europe, most recently at Trinity Square Video (Toronto), VIVO Media Arts Centre (Vancouver), and at Dynasty Handbag’s Weirdo Night (Los Angeles). Milton holds an MFA in Studio Art from the University of British Columbia and is currently a faculty member in the Department of Fine Arts at Langara College in Vancouver, B.C.

Christopher Lacroix, Hold Tight, I have a story (I am sorry), 2019

12 x 10 inch digital archival print, edition of 15



Artist Statement: In a single loop, repeated and offset in 7 different frames, I pop a series of balloons that mostly spell out gibberish with coherent statements forming every few minutes. “I AM  SORRY”, “YOU’RE WELCOME”, “YOU’RE SORRY”, and “I AM WELCOME”  disappear as quickly as they appear. A result of precise timing and sometimes painful explosions, the work renders me a confused subject, waffling between a submissive/apologetic position, to one of defiance and self-righteousness. The images of the popped balloons bundled and limply held up can be seen as an  attempt to reanimate these declarations.  


Biography: Christopher Lacroix (Canadian, b. 1986)  holds a BFA from Ryerson University, ON (2012) and an MFA from the  University of British Columbia, BC (2018). His work has been exhibited at The  Polygon Gallery (Vancouver), window (Winnipeg), Georgia Scherman Projects  (Toronto), and Forest City Gallery (London). Lacroix was the 2018 recipient of  the Philip B. Lind Emerging Artist Prize. He currently lives and works in  Vancouver, BC on the traditional, ancestral and unceded territory  Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ı́lwətaʔ/Selilwitulh (Tsleil-Waututh)  and xʷməθkʷəy̓ əm (Musqueam) Nations 

Isabel Okoro, a soft purple, 2020
8 x 12 inch inkjet print, edition of 15



Artist Statement: a soft purple is a part of Isabel’s ongoing series, colour and feel, inspired by Carrie Mae Weems’s Colored People. In this work Isabel sets out to investigate how monochromatic images can influence the way the viewer ‘reads’ the image as well as changes in emotional intonations


Biography: Isabel Okoro is a photographer and budding director currently living, working and schooling in Toronto. Isabel developed an interest in photography at the age of 12 while attending a boarding school in Lagos, but it wasn’t until she moved to Toronto in 2016 and received her first camera that she began to develop her artistic practice. Isabel is currently in her senior year at the University of Toronto completing a double major in Neuroscience and Psychology. Isabel’s work largely focuses on Black youth experiences while exploring the interactions between the motherland and the diaspora. A self-proclaimed dreamer, Isabel’s work offers a combination of thoughts that acknowledge the past, confront the present and imagine new futures.

Ananna Rafa, Ballon Girls, 2018


12 x 8 inch digital archival print, edition of 15



Artist Statement: Balloon Girls is part of Ananna Rafa's 2018-2019 series, Conversations & Observations from the Land of Rivers. Encompassing themes of motherhood, identity, and the politics of domestic labour in Bangladesh, this series consists of a collection of photographs, poetry, and conversations which maps the memories of the artist's childhood, and family history. This photograph depicts the friendship between young girls selling balloons and other commodities on the streets of Dhaka, Bangladesh.


Biography: Ananna Rafa is a photographer and painter based in Toronto. Her work oscillates between places, memories, and identity. Her art practice is primarily image-based with an emphasis on the immigrant experience—often referencing art history, performance, and cinema from the South Asian diaspora. As a person of Bengali heritage, her work highlights the cultural and socio-political narratives of this region while at the same time introducing these concepts to a western audience.


Holly Chang, Blue #1, 2021


22 x 29.5 inch cyanotype, batting, indigo-dyed fabric

Unique work



Artist Statement: This quilt was created with cyanotype images printed on fabric and connected with indigo-dyed fabric, a natural dyeing technique.


Biography: Holly Chang is an artist based in Toronto. She often works with photography and quilting to unpack the layered emotional nuances that are present with a mixed identity. Chang, as a second-generation Chinese-Canadian, often works with her family and community to explore the topics of her hybrid background and how her work can meaningfully contribute to the dialogue around these topics.

An image of a duplex in Chinatown. One of the attached houses is painted red and the other blue

Andrea Chartrand, Compositional Study No.7, 2021


18.5 x 24 inch digital archival print

Edition of 1 

$1,500 framed (custom)


Artist Statement: Andrea Chartrand’s practice considers the post-internet era’s intersection between the plastic arts and photographic image-making. Her works represent hundreds of hours of constructing and assembling every element you see, placed within life-sized, multi-layered installations that are then lit and photographed to initially appear as casual and quick digital manipulations. The transformative and illusionary flickering of her work captures the phenomenological experience of the medium and of our time.   


Biography: Andrea Chartrand has studied at Etobicoke School of the Arts, Pennsylvania Academy of the Fine Arts, and X University. Her work has been exhibited in the Bata Shoe Museum, Scotiabank CONTACT Photography Festival, and X Artspace. She has produced work for Fashion Magazine, Teen Vogue, and Hello Canada. Her work has been published in The Globe and Mail, Toronto Star, City News, and X University’s Archives & Special Collections. Andrea currently lives and works in Toronto.

A slide labeled "Central Scientific..." with the last word obscured by a sticker.

Morris Lum, 676-678 Gerrard Street E, East Toronto Chinatown, 2021


24 x 20 inch archival pigment print

Edition of 10 (1 framed, 1 unframed available)

$1,700 framed, $1,300 unframed

Artist Statement: Over the last nine years Lum has been searching for the clusters of Chinatown communities that have been built across Canada and the United States for the purpose of settlement and growth. The artist’s aim is to focus and direct attention towards the functionality of the Chinatown and to explore the generational context of how “Chinese” identity is expressed in these structural enclaves. Armed with a large format camera, Lum documented Chinatowns in Victoria, Vancouver, Calgary, Edmonton, Winnipeg, Toronto, Ottawa, Montreal, Halifax and San Francisco, Los Angeles, Manhattan New York and Boston. Lum has often travelled back and forth to these Chinatowns to record the rapid architectural, and economic changes that these communities have been facing. These images are visual records of the cityscapes in which Lum highlights historical and contemporary cultural fixtures such as small mom-and-pop shops, Chinese restaurants, and community organizations.


Biography: Morris Lum is a Trinidadian born photographer/artist whose work explores the hybrid nature of the Chinese-Canadian community through photography and documentary practices. His work also examines the ways in which Chinese history is represented in the media and archival material. Morris’ work has been exhibited and screened across Canada and the United States.


Morris is currently working on a cross-North America project that looks specifically at the transformation of the Chinatown.

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Claude Labrèche-Lemay, Untitled (Sous une géologie des corps series), 2021


33 x 20 x 3.5 inch inkjet prints on Japanese paper, wax, burnt wood

Edition of 1


Artist Statement: This work is from an installation series called, Sous une géologie des corps which dives into the materiality of the photographic image. This body of work investigates perceptions of time and movement between geology and the human body. Wax is used as a malleable object to explore and combine those two temporalities. Geology represents a temporality that goes beyond the human being. It is in constant movement but hard to notice. The human body is our reference point; responding to the multiple biological pulsations that inhabit us; the rhythm of a breath, or that of the heartbeat. So how can they coexist within the same object? How can they communicate? 


Through the use of wax, the photograph is transformed into an object thought to be static. But wax is a malleable material, it shifts with heat. The photo-objects presented here were molded on a body while thinking about the skeleton and geomorphology.


Biography: Claude Labrèche-Lemay is an interdisciplinary artist living and working in Tiohtiá:ke/Montreal. While rooted in photography, her practice is expanding within a material and performative approach working with installation, video, and sculpture. Her work interrogates our perception of time, the liminal space occupied by a fixed image and studies translation and systems of communication. She holds a BFA in Photography at Concordia University and her work has been featured in several exhibitions in Quebec, Toronto, and Sweden. She is currently a member of the 15th edition of Projet Complot.

Liza Eurich, proof, 2021


9.75 x 12 inch C-print

Edition of 1

$600 framed

Artist Statement: This collaged image consists of two test strips, made from the same peice of photopaper. An exposure error in the darkroom resulted in the blue section, the tone of which, will continue to shift over time.


Biography: Liza Eurich completed her BFA from Emily Carr University in 2010 and her MFA from Western University in 2012. She co-founded and organizes the online publication Moire, as well as the project space, Support. She recently completed international residencies at SIM in Reykjavik (IS), Acme Studios in London (UK),  and GSS in Glasgow (UK). Represented by MKG127 in Toronto, her work has been exhibited at Stride, Open Studio, G Gallery, Neutral Ground, Plug-In, and the Power Plant Contemporary Art Gallery. She currently resides in London, Ontario. 

A clipping of a black and white photo ripped out of a magazine and resting on someone's wrist.
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Blair Swann, Wrist (a list of things I can’t hold onto), 2021


4 x 5 inch collage

Edition of 1

$500 framed

Artist Statement: Found photographs are the basis of Blair Swann’s work, which draws from sources including advertising, photojournalism, movies, television, magazines, newspapers, Youtube, Reddit, and stock photography. Often employing the same images in multiple works, Swann embraces a methodology of reuse that pushes against the speed at which visual media—echoing humanity’s use of natural resources—is consumed.


Swann’s collages highlight the physicality of visual archives, focusing on minute details in found photographs. These collages, which are often made and remade continually over years, impose personal poetics onto mass-produced images in an attempt to reread and disrupt colonial narratives inherent in image circulation.


Biography: Blair Swann is an artist, writer, and curator with experience organizing programs, residencies, publications, and exhibitions. As an artist, he has exhibited in Canada and internationally, with recent exhibitions at The Round Tower (Copenhagen) and the Scotiabank CONTACT Photography Festival (Toronto). He is a founding member of the plumb, and is currently the Assistant Director & Inventory Manager at Art Metropole.

Katherine Melançon, Nature morte - Champ des possibles, 2017

35.43 x 24 inch inkjet print on Moab Photorag 300mg

Edition of 5 (1 framed, 2 unframed available)

$1,800 framed, $1,200 unframed


Artist Statement: Katherine’s practice is interested in process, non-traditional tools and materials, and the relationship between the natural and the technological. In a constant loop between experimentation and results, she questions materials and explores their path through multiple cycles of transformation between the virtual and the physical. The artwork Nature morte - Champ des possibles, uses scanography to capture and document through its natural specimens a specific site: a wasteland located in a newly gentrified area in Montreal. How long will these wild specimens thrive before the land is bought and built on? Thanks to a personal technique developed over the years, every aspect of the photographic language is explored through scanography at the “performative” stage; the work is made essentially with this cameraless technique and not through graphic work and image manipulation (no filters or effects used). Lately, her work has been focusing on making nature control what humans create.


Biography: Katherine Melançon holds a Masters in Fine Arts from Central Saint Martins University of the Arts (UK) and a BA in Communications studies/Interactive Medias from UQAM (CA). Her work has been exhibited in Canada, the US, and various countries in Europe, including in France at Galerie Charlot, in the UK at gallery Arcadia Missa and in Switzerland taking part in Plat(t)form at the Fotomuseum in Winterthur. Her works are part of private and public collections in Europe and North America such as the City of Montreal contemporary art collection (PADORAC) and the Central Saint Martins Museum Collection. Katherine works and lives in Montreal.

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Hannah Somers, My Hand, Your Back, 2020


20 x 20 inch inkjet print

Edition of 5 (all available) 

$475 unframed

Artist Statement: This image is part of a series where, in the process of investigating my own identity, I return to my roots by creating a visual conversation between my Mom and Aunt as they recount the circumstances of their upbringing: biracial twin sisters adopted into a white family in the 1960s was not something that went unnoticed. They were aware of growing up with everyone’s eyes upon them and the stereotypes that clung to their black identity. In the series, they recount troublesome stories of growing up with no familial connection to their heritage. They idolized and connected with black figures within popular culture. Their unique relationship to one another develops through odd portraits of their interactions. This series shares a unique story of the impact of  imagery in the construction of distant and personal relationships that formed an identity.

Biography: Hannah Somers is a London-born, Toronto-based artist and photographer. She completed a BFA at X University in Image Arts, Photography Studies. Being a  biracial woman of colour with a Caribbean heritage has influenced many of her  investigations. Her work centralizes around the expression and discovery of  identity, ethnicity, and race. Understanding different relationships and histories of  these themes are important in her process. Utilizing photography, video, and  audio, she creates narratives within her fine art practice. Coming from a  documentary photography background has offered her a unique outlook when  creating collaborative work.

A close up of a hand with the words "soft" embossed.

Karice Mitchell, (Untitled) Soft , 2021


16 x 20 inch archival inkjet print mounted between plexiglass 

Edition of 1


Artist Statement: (Untitled) Soft is a photo-based work that seeks to represent the Black female body as a site of resistance. Through the re-appropration and reclamation of Black erotic magazines, which has historically been a space for Black sexuality to be represented, this work seeks to begin redefining Black womanhood beyond how it's been historically and wrongfully constructed.


Biography: Karice Mitchell (b. 1996, Toronto, Canada) is a photo-based installation artist whose practice uses found imagery and digital manipulation to engage with issues relating to the representation of the Black female body in pornography and popular culture. Her work seeks to re-contextualize pre-existing images to re-imagine possibilities for Black womanhood and sexuality detached from the white gaze and patriarchy. She received her BFA at York University in 2019 and her MFA at the University of Waterloo in 2021. She is currently lecturing with a focus in photography at the University of British Columbia. 

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Alison Postma, August Swim, 2020


16 x 20 inch archival pigment print

Edition of 3 (1 framed, 1 unframed available)

$750 framed, $300 unframed


There is also an 8 x 10 inch print (edition of 10, $100 unframed) and a 40 x 50 inch print (edition of 2, $1,600 unframed) available.

Artist Statement: August Swim was created at the height of our first pandemic summer. Staying inside their 400 sqft bachelor apartment and without a studio space, Postma took to photographing whatever they could on their balcony. Objects lived with took on new meaning as she repurposed and reimagined them into fantasy landscapes to escape into. Someone recently described August to the artist as the Sunday of months. August Swim is a lazy summer Sunday, inviting you to come and rest awhile.


Biography: Alison Postma (they/she) is an artist currently based in Toronto. They graduated from the University of Guelph’s Studio Art program in 2016. Her practice is multidisciplinary, working mainly in photography, video, and sculpture. Alison was a winner of the Emerging Digital Artists Award presented by EQ Bank and Trinity Square Video in 2020. In September 2020, she became a cofounder of a new collective-run gallery space in Toronto, the plumb, dedicated to making physical space for emerging artists in the city. In 2019, she was the artist-in-residence at the Reclaim Residency—a partnership between the Haliburton School of Art and Design and the local landfill. Alison’s practice often involves working with found objects and juxtaposing them. Their work is intuitive, exploring thematic interests that include the relationship between objects and the body, skewed perception in alternate states of reality, and perspectives on past, present, and future.

Sara Angelucci, Diffraction rings, 2021


16 x 16 inch inkjet print

Edition of 10 (1 framed, 4 unframed available)

$850 framed, $550 unframed

Artist Statement: This montage was created using 20th century glass lantern slides from a defunct science collection. These images were originally used in slide lectures to illustrate principles of nature and scientific studies. 


Biography: Sara Angelucci is a Toronto-based artist working in photography, video, audio, and installation. Her projects draw from a range of personal photographs and films—to anonymous and found images. Based in the history of photography—from vernacular snapshots to professional studio portraiture—the history outside the image frame informs the direction of her research into natural and social histories implicated in the photograph. Photography’s material evolution and its shifting social influence provide rich ground for aesthetic interpretation, and inspire a range of materials and references that traverse her projects. Since 2013, her projects have focused on our fraught relationship with the natural world. Sara Angelucci completed her BA at the University of Guelph and her MFA at the Nova Scotia College of Art and Design. She is an Adjunct Professor in Photography at the School of Image Arts Ryerson University and is represented by the Stephen Bulger Gallery and Patrick Mikhail Gallery. 

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Caroline Monnet, Demi Monde, 2020

16 x 16 inch digital print on Entrada paper  

Edition of 3 (1 framed available)



Artist Statement: Self-portrait from the short film Demi Monde (2013), shot on 16mm film.   


Biography: Caroline Monnet (Anishinaabe/French) is a multidisciplinary artist from Outaouais, Quebec. She studied Sociology and Communication at the University of Ottawa (Canada) and the University of Granada (Spain) before pursuing a career in visual arts and films.


Her work has been programmed internationally at the Palais de Tokyo (Paris), Haus der Kulturen der Welt (Berlin), TIFF (CAN), Sundance (US), Aesthetica (UK), Palm Springs (US), Cannes Film Festival, Whitney Biennial (NY), Toronto Biennale of Art (CAN), Museum of Contemporary Art (Montreal), Arsenal Contemporary NY, Walter Phillips Gallery (Banff), and the National Art Gallery (Ottawa). Her work is included in numerous collections including Quebec Museum of Fine Arts, National Art Gallery, RBC Royal Bank, Museum of Contemporary Art Montreal. Recent exhibitions include the Schirn Kunsthalle (Frankfurt), the Eli and Edythe Broad Art Museum Michigan State University and a solo show at the Montreal Museum of Fine Art. 


Monnet is recipient of the 2021 Hopper Prize, 2020 Pierre-Ayot award, the 2020 Sobey Art Award, the REVEAL Indigenous Art Awards. She is based in Montreal and represented by Blouin Division Gallery.

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Alyssa Bistonath, Diary, 2012


24 x 16 inch archival pigment print  

Edition of 3 (1 unframed available)


Artist Statement: Niagara Falls is rife with nostalgia. A place to stop on your way in or out of the country. Inherently romantic, we visit with someone of interest and hope for the best. On the flip side, we wander down grudgingly with a colleague. We stand  close to the wonder, fix our gaze, and a moment of vertigo erupts, triggering a wave of fear, smallness, and solitude. In retaliation, we photograph the mammoth and the moment. We make it flat and pocket-sized, something manageable. Later we say we have been there—we shudder and beam.


Biography: Alyssa Bistonath is a photographer and filmmaker based in Toronto. She focuses on themes of memory and belonging by investigating intimacy, evidence, and the archive. Most recently, she was featured in the Art Gallery of Ontario’s “Art in the Spotlight” and Canadian Art online for her series, Isolation Photographs.

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Blair Swann, Palm (a list of things I can’t hold onto), 2021


4 x 5 inch collage

Edition of 1

$500 framed

Artist Statement: Found photographs are the basis of Blair Swann’s work, which draws from sources including advertising, photojournalism, movies, television, magazines, newspapers, Youtube, Reddit, and stock photography. Often employing the same images in multiple works, Swann embraces a methodology of reuse that pushes against the speed at which visual media—echoing humanity’s use of natural resources—is consumed.


Swann’s collages highlight the physicality of visual archives, focusing on minute details in found photographs. These collages, which are often made and remade continually over years, impose personal poetics onto mass-produced images in an attempt to reread and disrupt colonial narratives inherent in image circulation.


Biography: Blair Swann is an artist, writer, and curator with experience organizing programs, residencies, publications, and exhibitions. As an artist, he has exhibited in Canada and internationally, with recent exhibitions at The Round Tower (Copenhagen) and the Scotiabank CONTACT Photography Festival (Toronto). He is a founding member of the plumb, and is currently the Assistant Director & Inventory Manager at Art Metropole.


Nathan Cyprys, Southern Cross and Carina Nebula, ~RA 11.5h, Dec −60°, 2020


10 x 10 inch C-print

Edition of 6 (1 framed, 5 unframed available)

$700 framed, $600 unframed

Artist Statement: Photographed from the arid climate of the Atacama Desert in Chile, this image depicts a portion of the Milky Way in the Southern Hemisphere containing a complex area of nebulosity known as the Carina Nebula. For the Indigenous Likan Antai people of the Atacama, the dark parts of the Milky Way play an equally important role in sky mythology as the brighter sections. Within this image (from bottom to top) the dark Andean constellations of The Partridge, The Toad, and the Head of The Serpent can all be seen. These dark areas of the Milky Way, referred to by astronomers as The Great Rift, do not show us a lack of stars, but rather are composed of nearby dark dust clouds that obscure the stars just beyond.


Biography: Nathan Cyprys is an artist and photographer based in Toronto, who holds a BFA in Photography from the Ontario College of Art & Design. His art practice often focuses on the relationship between humans, the cosmos, and the natural world. Nathan’s work has been featured by The Washington Post, American Photography, and VICE. Some of his editorial clients include The Globe & Mail, Fast Company, and Toronto Life.


Virginia Mak, Composed 06, 2018


15 x 15 inch C-print

Artist Proof

$560 framed

Artist Statement: The Composed series was inspired by Jane Austin’s Sense and Sensibility, wherein the character’s sorrows and joys “could have no moderation”. For this series, Mak photographed writers, actors, visual artists and other individuals. Working in the darkroom with film negatives, she painted and superimposed a layer of painted lines and motifs that alludes to artistic sensibility.


Biography: Virginia Mak was born in Hong Kong. After graduating with a Philosophy Degree from the University of Calgary, she went on to study Photography at the Ontario College of Art. She is a recipient of project, exhibition, and travel grants from the Ontario Arts Council and the Canada Council for the Arts. Her work has been written about in the Calgary Herald, The Globe and Mail, Vancouver Sun, and the Toronto Star. Mak’s photographs are included in the Art Bank and Toronto Archives, and in other public and private collections worldwide. Her recent works include the Composed and the Likeness series.

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Erdem Taşdelen, Shifting Shades, 2020


12 x 18 inch Canson Baryta Prestige print

Edition of 5 +1 AP (1 framed, 2 unframed available)

$1,500 framed, $1,200 unframed

Artist Statement: This print is part of A Minaret for the General’s Wife, an installation that was on view in the artist’s recent solo exhibition at Mercer Union. The project revolves around the story of the Kėdainiai Minaret, an architectural folly located in a small town in Lithuania. In A Minaret for the General’s Wife, the minaret is taken up as a metaphor for the experience of being corporeally out of place, for structures built in locations where they seemingly don’t belong, and for objects brought out of context—in other words; displacement, appropriation, and extractivism. The installation comprises photographs, archival documents, replicas of artefacts, audiovisual material, a curious selection of objects and a book of 12 vignettes from undisclosed origins, all assembled in a web of relational and spatial collage that suggests reconfigurable performative possibilities.


Biography: Erdem Taşdelen is a visual artist currently based in Tkaronto/Toronto. His diverse projects bring structures of power into question within the context of culturally learned behaviours, where he often draws from unique historical narratives to address the complexities of current socio-political matters. His work has been shown in numerous exhibitions internationally and across Canada, most recently at venues including Mercer Union, Toronto; Oakville Galleries, Oakville (2021); Blackwood Gallery, Mississauga; AKA artist-run, Saskatoon (2020); Contemporary Art Gallery, Vancouver; Museum für Gegenwartskunst Siegen (2019); VOX Centre de l’image contemporaine, Montreal (2018); Pera Museum, Istanbul (2017); Museum für Neue Kunst, Freiburg (2016). Taşdelen has been awarded the Joseph S. Stauffer Prize in Visual Arts by the Canada Council for the Arts (2016), the Charles Pachter Prize for Emerging Artists by the Hnatyshyn Foundation (2014), and was long-listed for the Sobey Art Award in 2019.

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Jessica Thalmann, Tessellations (Miura 09 Peach), 2020


14 x 20 inch folded archival pigment print

Edition of 5 (1 framed, 1 unframed available)

$1,500 framed, $1,300 unframed

Artist Statement: Tessellations (Miura 09 Peach) is part of an ongoing series of folded photographs examining modern architectural ruins. The photographs were taken at Seattle’s Freeway Park, an urban concrete park built between two major highways in 1976. Fallen into disuse and with a reputation of neglect, this public space is a mix of urban and greenspace that exemplifies the failed utopian ideals of Brutalist architecture.  The photographs are then folded using a Miura fold crease pattern named for its inventor, Japanese astrophysicist Koryo Miura. Used in Japan’s Space Flyer Unit (a satellite launched in 1995), Miura folds are considered shape-memory origami because the fold can be “remembered” after unfolding.


Biography: Jessica Thalmann is an artist and educator currently based in Toronto and New York City. She received an MFA in Advanced Photographic Studies from ICP-Bard College and a BFA in Visual Arts from York University. Thalmann has taught at the International Centre for Photography, Akin Collective, MacLaren Art Centre, Toronto School of Art, Gallery 44 and City College of New York.  She has been an artist-in-residence at the Banff Center for Arts and Creativity, Alberta, Canada, and at the Southern California Institute of Architecture in Los Angeles, California, USA.


Her work has been shown in group exhibitions at Aperture Foundation, International Centre for Photography, Camera Club of New York Baxter St, and Humble Arts Foundation (New York), VIVO Media Arts Centre (Vancouver), Museum of Contemporary Art, Harbourfront Centre, Art Gallery of Mississauga, Angell Gallery, Gallery TPW, Art Spin, and Gales Gallery at York University (Toronto). She is currently represented by Angell Gallery and her first solo museum exhibition at the Varley Art Gallery of Markham opened in early 2021.

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Farihah Aliyah Shah, Young Coconut, 2017

12 x 8 inch archival inkjet print 

Edition of 20 (9 unframed available)



Artist Statement: This series explores the return of the Weatherspoon family to their childhood home in Victoria Village for the funeral of their eldest sister. The family was last reunited some 30 years after the death of their mother Lucille. The work documents the family's process of reclaiming identity while shedding light on the unique country of Guyana. Simultaneously insiders and outsiders, Guyana remains the only English-speaking nation in South America oscillating between cultural roots of Amerindian, Black (African), East Indian, Caribbean, and colonial ties with British, Dutch, French, Portuguese, and Spanish influence. Surrounded by predominantly Spanish speaking nations, Guyana finds itself ostracized from the Latin identity of South America and so too does its people who are often characterized as Caribbean. Once torn apart by its cultural difference, this series champions the nation's growth and slogan: “One People, One Nation, One Destiny”.

This series is dedicated to my late aunt, Dawn Weatherspoon-Sandiford.


Biography: Farihah Aliyah Shah is a contemporary lens-based artist originally from Edmonton, Alberta (Treaty 6) now based in Bradford, Ontario (Treaty 18). She holds a BHRM from York University and a BFA in Photography with a minor in Integrated Media from OCAD University in Toronto, Ontario. Utilizing photography, installation, and the moving image, Shah’s practices explore issues of identity formation through the colonial gaze, land, collective memory, and archival material. She seeks to challenge the lack of representation of disenfranchised bodies in the photographic canon and representational art, encouraging others to take agency of their image. 2019 Recipient of the John Hartman Award for Emerging Artists, she currently serves as a Board Member at Gallery 44 Centre of Contemporary Photography, and is a member of Women Photograph, an organization that advocates for Female Identified and Non-Binary photojournalists. Shah has exhibited internationally in Canada, Finland, Germany, Italy, Scotland, and South Korea.

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Josée Pedneault, Mawavu (from the series Badda Means the Sea), 2018

21.6 x 30 inch archival inkjet print 

Edition of 3 (1 available)



Artist Statement: Badda means the Sea narrates the memories of Nasir Salim, a fisherman and free diver who left a Somali island for a new beginning in Scotland. Nasir recalls the sea as a captivating, yet frightening, entity. His stories contain expansive sea forests, divers skilled in underwater ear breathing, five-finger trees, and instructions for tricking dangerous sea animals. Badda means the Sea reflects on modes of memory as tactical forms of survival.


This photograph was taken in Glasgow’s botanical garden, where plants endemic to specific islands were preserved and displayed. Mawavu means “bait net” in Bajuni.

Biography: Josée Pedneault is a visual artist living between Montreal and Chicago. Her work has been shown in national and international venues, such as Künstlerhaus Bethanien (Berlin, 2018), CONTACT Gallery (Toronto, 2015), TYPOLOGY (Toronto, 2015), Museo del Chopo (Mexico City, 2014) and Darling Foundry (Montréal 2012). She has completed several residencies in Berlin, Glasgow, Tokyo, Paris, Mexico and Reykjavik. In 2020, she published the book Glazial-Kosmogonie, a co-publication between Künstlerhaus Bethanien and Revoler Publishing, Berlin. Since 2011, she has been realizing large-scale public art commissioned artworks in the province of Quebec; the most recent is Kinésie, a series of permanent interactive artworks for the new Centre Aquatique de Granby (2020). Josée Pedneault holds an MFA in studio art from Concordia University where she is currently a part-time teacher.

A multicoloured collage of different plant specimens.

Xuan Ye, Deep Aware Triads – vivirvivirvivir no. 1, 2020 - 2021

24 inch diameter giclée print

5 + 2AP

$2,200 (framed)


Artist Statement: Deep Aware Triads is an ongoing project with an attempt to translate various complex systems and phenomena into images. It involves a process for making digital paintings/collages based on diagrams the artist creates that are inspired by the architecture of artificial neural networks. Utilizing databases of images from stock photograph archives and academic research papers as a source, the artist misuses the content-aware fill function and other image processing algorithms to blend boundaries of found images with machine imagined pixels. Images encroach on each other as digital bodies, creating unexpected and obscure brushes and textures. The final work that embeds intricate details appears to stimulate algorithmic pareidolia. vivirvivirvivir (2020 - 2021) researches and foregrounds the agencies of viral systems as means and metaphor through the biological, the computational, and the linguistic.

Biography: Xuan Ye is a practitioner in music, design, web, art, and education, currently working between the Pearl River Delta and Tkarón:to. Ye’s body of work translates between various modes of being and creation, synthesizing language, code, sound, body, image, data, light, and time. Ye makes noises in the sensorium, coupling it with more-than-human agencies (internet, machine intelligence, electricity and circuitries, and non-human organisms) to experiment with meaning-becoming and world-building.


Ye’s work has been featured, exhibited, and performed internationally, including at peer to space (GE), Centre de Design de l’UQAM à Montréal (CA), Varley Art Gallery (CA), Canadian Art, the AGO (CA), Vivid Projects (UK), InterAccess (CA), Inside-out Art Museum (CN), Goethe-Institut (CN & CA), ArtAsiaPacific, KUNSTFORUM (GE), among others. Ye was a finalist of EQ Bank Digital Artists Award in 2018 and a recipient of a SSHRC scholarship. Ye’s music performances and releases have received critical accolades from Bandcamp, Musicworks, and Exclaim!. 

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Ryan Van Der Hout, Ascension, 2021

24 x 20 inch pigment print mounted to Sintra, Matte Laminate

Edition of 9 (1 framed, 7 unframed available; 2 prints available at 10 x 8 inches) 

$2,000 framed, $1,500 unframed ($500 unframed 10 x 8 inch prints)

Artist Statement: What happens to the artifacts of our civilized world when they no longer serve a purpose? Are they burned to the ground or left to collect dust? 


In Collecting Dust, Van Der Hout photographs still life scenes covered in layers of dust and decay showing the accumulation of time and neglect. 


By covering recreated Dutch vanitas paintings and famous artworks in dust, Van Der Hout imagines what our most prized artworks would look like in a world long neglected. What would it look like when all that is left for artworks to do is collect dust?

Biography: Ryan Van Der Hout is a Toronto-based artist working in experimental photography and sculpture. His work explores photographic materials and experimental processes, pushing the limits of the photographic object. He has had public works at the Toronto Archive, the TTC, Nuit Blanche, and with Pemberton Developments and has been exhibited across Canada, the U.K. and in New York. His work is represented by Oeno Gallery.


In his most recent work, Collecting Dust, Van Der Hout reflects on his experience of COVID and the concept of end times. 


A multicolour and mix media collage

Patrick Cruz, Extinction event, 2021

14 x 11 inch acrylic and collage on panel

Edition of 1



Artist Statement: Threatened by habitat loss, tarsiers are on the brink of being endangered. In Extinction event we see the tarsier eating its lunch while clinging onto a poison fish tree. Superimposed on the tarsier is a broken porcupine quill that playfully evokes the arms of a clock. Under the tree is the packaging of frozen bilimbi. Cruz’s hometown was named after the sour fruit of bilimbi, locally known as Kamias. Similar to the tarsier, the artist’s old neighborhood is experiencing the impending arrival of modernity.      


Biography: Patrick Cruz is an interdisciplinary Filipino-Canadian artist, organizer, and educator born and raised in Quezon City, Philippines—currently living and working on the unceded land of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. Cruz studied painting at the University of the Philippines Diliman, holds a Bachelor of Fine Arts from Emily Carr University of Art and Design, a Masters of Fine Arts from the University of Guelph, and a certificate in Pochinko clowning. Cruz is a co-founding member of Kamias Special Projects (KSP), a curatorial collective that hosts the Kamias Triennial in his hometown of Quezon City.

Noah Friebel, Kits Beach Tree, 2019

26 x 18.5 inch archival pigment print  

Edition of 3 (1 framed available)



Artist Statement: Kits Beach Tree is a photographic work comprising two panels, fitted together within a non-rectangular picture frame, depicting a unified image of a damaged tree. The double sectioned wooden frame follows the diagonal trajectory of the tree, conforming to its form. As with Friebel’s other work, Kits Beach Tree uses framing as means to consider the photographic object and the pictorial and conceptual boundaries of photography.


Biography: Noah Friebel is a visual artist living in Düsseldorf, Germany working with photography and video. He graduated from Emily Carr University with a BFA in 2018, and is currently continuing his education at the Düsseldorf Kunstakademie. Friebel uses sculptural elements and installation contexts to consider the 2D basis of the photographic image. His work underscores the mechanics and boundaries of picture making and the notion that the medium pivots on dichotomies—inner/outer realities, documentary/abstraction, and 2D (image)/3D (object). Friebel is one of the 2020 winners of The New Generation Photography Award.

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Karen Zalamea, They are lost as soon as they are made (no. 17), 2015/2020

15 x 12 inch archival inkjet print

Edition of 3 + 1AP (2 framed available)

$1,500 with signed copy of artist book They are lost as soon as they are made


Artist Statement: To produce the images of They are lost as soon as they are made Zalamea built a large-format 4 x 5 analogue film camera for which she created biconvex lenses by freezing local water samples from Iceland in specially fabricated moulds. With the camera and ice lenses, Zalamea photographed the Icelandic landscape. The work explores the camera and its optics as sites for experimentation, the translational capacity of photography, the perimeters of vision, and the possibilities of the landscape to reveal and render its own image.

They are lost as soon as they are made is also available as a limited edition artist book presenting the full suite of 80 photographs with essays by Katie Belcher and Sara Matthews.


Biography: Karen Zalamea is a Filipino-Canadian artist, educator, and cultural worker based in Vancouver, Canada, the unceded territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ/Selilwitulh (Tsleil-Waututh) Nations.

Zalamea’s interdisciplinary practice is rooted in photography and critically considers methodologies, materiality, and modes of presentation. Her research centres on the camera-mediated relationship between body and space, as well as the material and representational potential of the photographic surface. Her work has expanded to use photography as a means to think through and encounter broader issues of identity, memory, and uncertainty. Her work has been presented in solo and group exhibitions and as public art projects across Canada and internationally. Zalamea holds degrees from Concordia University, Montreal, and from Emily Carr University of Art + Design, Vancouver.

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Jennifer Murphy, Mallow, 2021

22 x 22 inch collage

Edition of 1

$3,200 (framed)


Artist Statement: An image of a pressed Mallow flower, with stained petals, suspended in early decay branches from the leafed perch of the transformative caterpillar. Both the decaying flower and metamorphic insect grow from the curled leaf and sprouting toadstools, often found growing out of decomposing material on forest floors. The collage is made with cut images from used books allowing the work to grow organically with the individual pieces finding their way to each other through chance in plays of scale, juxtaposition, and colour. Nature is in a constant state of flux of life and death, heightened now that we are living through a time of so much loss and ecological mourning. 


Biography: Jennifer Murphy is an artist working in collage, assemblage, and sculpture. Primarily using upcycled and reclaimed materials, she examines the interconnectedness found in nature and ecological mourning related to the Anthropocene. Murphy has exhibited both nationally and internationally including exhibitions at White Columns in New York, the CAG (The Contemporary Art Gallery) in Vancouver, Galerie Kunstbuero in Vienna, and The Power Plant in Toronto. She is the recipient of numerous grants and awards and has been long listed twice for the prestigious Sobey Art Award. Murphy has been an artist-in-residence at the Banff Centre and this fall will attend the Alternative Art School’s Intensive Workshop Culture of Nature: Animals in Art led by Mark Dion. She is represented by the Clint Roenisch Gallery in Toronto.  

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Alex Jacobs-Blum, Medicine Game, 2017

14 x 11 inch Hahnemühle Photo Rag Bright White

Edition of 15 (1 framed, 14 unframed available)

$800 framed, $500 unframed


Artist Statement: This work is from the series Empty rooms, which refers to the concept of terra nullius, the belief that land that was not 'actively' occupied was considered to be “vacant” and therefore available for settler ownership. The Doctrine of Discovery stated that the land was not being “properly used” according to European and American law. 


Th resulting dispossession and removal of Indigenous peoples from their homelands uprooted the interconnectedness, cultural teachings, and sustenance the land provides. Through acts of resistance, Indigenous peoples seek to ensure the safety of the land from further harm in order to secure a future for the next seven generations. Empty rooms reflect on diaspora and the continued resilience of Indigenous peoples.  


Biography: Alex Jacobs-Blum’s dichotomous Hodinöhsö:ni’ and German identity raises questions of belonging and relationship to land. Struggling to find a unified sense of identity perpetuates an investigation in notions of authenticity and legitimacy. Alex navigates personal experiences by challenging colonial structures as an act of self-determination and resistance. Focusing on the territories that have sustained her Indigenous family for generations, photography presents a way of engaging knowledge carried by her ancestors.


Nationally, Alex’s work has been exhibited since 2015 at the University of Ottawa, the Woodland Cultural Centre, Brantford, and Critical Distance Centre for Curators, Toronto. She has facilitated photo and social justice workshops with Indigenous youth at Western University, London and at the Hamilton Regional Indian Centre, Hamilton. Alex holds a Bachelor of Photography from Sheridan College (2015).

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Leyla Godfrey, A rock, a glass, a candy, 2020

20 x 20 inch C-print  

Edition of 3 (1 framed available)



Artist Statement: This photo is from a series made during the start of the pandemic.


Biography: Leyla Godfrey is a visual artist and photographer working in Montreal, QC. Her work is grounded in analogue photography and focuses on family, memory, and place. In 2020, Godfrey was a finalist for The Burtynsky Grant, and in 2019 she was a Magenta Foundation Flash Forward Award recipient, a Contact/Alliance Francaise Award recipient, and a Ryerson President's Office Show recipient. Godfrey studied at Ryerson University and graduated with a BFA in Photography in 2019.


Camille Rojas, Papi, 2017/2021 

4.5 x 3.6 inch mounted inkjet print

Edition of 1

$400 unframed


Artist Statement: Scan of 16mm reversal film of Papi moving his body in front of the hospital across the street from my childhood home.

Biography: Camille Rojas (she/her. b. 1993 Toronto; lives and works in Toronto) is a multidisciplinary artist working with film, photography, and dance. Her work uses movement as the primary vehicle to dissect ideas and emotions. Recent interests include art economics, stock market drama, and computer vision science. 

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Graeme Wahn, Lazy V Bouquet, 2017

28.5 x 23 inch inkjet print

Edition of 3 (all available)

$800 unframed


Artist Statement: The bouquet of wildflowers, dried grasses, and picked weeds was assembled gradually over the course of a few idle days. The photograph documents the culmination of the slow arrangement, but also extends the ad hoc composition of the bouquet. Twigs and flowers leave the frame, and press against its edges as the picture’s focus enters and exits the depths of the bouquet. This picture is about a slower kind of looking that compresses the optics of the eye with that of the camera.

Biography: Graeme Wahn is an artist living and working on the unceded territories of the Syilx/Okanagan peoples. He holds an MFA from Simon Fraser University (’19), and a BFA From Emily Carr University of Art & Design (’15). His practice stems from ongoing engagements with photographic processes—however now his work looks towards alternative optical formations as a means to shift the ways in which one can see, make, or be, in new images of the world. In mid 2020, he relocated from Vancouver to Lake Country, British Columbia where he is now focusing on organic agriculture and sustainable food production practices. This transition embodies his desire for intentional and sustainable living; ideas that influence his art practice inasmuch as it requires one to slow down and observe the world outside of oneself.

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Fehn Foss, Sanitizer, 2021

6 x 6 inch inkjet print

Edition of 1



Artist Statement: A resealable plastic storage bag filled with hand sanitizer sits on a scanner. Part of a new body of work, this image considers an object whose lifespan is short and whose fate resides in the landfill.


Biography: Fehn Foss (she/her) is a lens-based artist and writer based in Tkaronto/Toronto. She is an MFA Visual Arts candidate, York University (2023) and holds a BFA Photography from X University (2018). Foss has been awarded a York Graduate Scholarship and Domestic Master's Fellowship, won the First Edition Photobook Award (X University), and the SF Award in Photography (X University). She has exhibited her work at the Ryerson Image Centre and Gallery 44, Knot Project Space, and the Art Gallery of Hamilton. She guest-curated a CONTACT Photography Festival group show for Spectra, Gallery 44’s annual member-run exhibition. Foss has had her images published in Function magazine, Ryerson Folio Mag, and The Vault zine.

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Shaheer Zazai, 1114.2, 2018

11 x 14 inch digital print on watercolour paper

Edition of 10 (1 unframed available)



Artist Statement: Shaheer Zazai’s digital works revolve around imagery drawn from traditional Afghan carpets that are rendered in Microsoft Word. Through mimicking carpet-making methods, Zazai creates his own designs in which every knot of carpet is translated into a typed character. While the digital is process-based and exploratory, Zazai’s works are also an internal investigation into vulnerability and fear. 


Biography: Shaheer Zazai is a Toronto-based Afghan-Canadian artist with a current studio practice in both painting and digital media. His practice focuses on exploring and attempting to investigate the development of cultural identity in present-day geopolitical climates and in the diaspora.

Justin Aranha, Yoga Class, Withrow Park, Toronto, 2021

14 x 11 inch silver gelatin print

Edition of 3 (all available)

$150 unframed


Artist Statement: An ordinary sight in many parks around Toronto in the summer is the outdoor yoga class. Amongst the trees, the uniformity of the body positions made for an interesting composition as a sequential diptych.

Biography: Justin Aranha is a photographer living and working in Toronto. He works between digital and analog mediums, with a strong focus on portraiture and documentation.

Ananna Rafa, Pretend Photograph I, 2018

8 x 10 inch inkjet print

Edition of 2 (both available)

$450 unframed


Artist Statement: Pretend Photograph I is from Ananna Rafa's series, Conversations & Observations from the Land of Rivers, 2018 - 2019. This image depicts the artist teaching her younger cousins from Bangladesh how to use a camera as an exercise of bonding and trust. The image depicts the relationship between subject and photographer, and the social practice of domestic labour in Bangladesh.

Biography: Ananna Rafa is a photographer and painter based in Toronto. Her work oscillates between places, memories, and identity. Her art practice is primarily image-based with an emphasis on the immigrant experience—often referencing art history, performance, and cinema from the South Asian diaspora. As a person of Bengali heritage, her work highlights the cultural and socio-political narratives of this region while at the same time introducing these concepts to a western audience.

Darren Rigo, bear proof, 2012

16  x 14 inch C-print

Edition of 5 (1 framed, 2 unframed available)

$450 framed, $200 unframed


Artist Statement: When backcountry camping, it’s very important to suspend your food up between two trees to keep it safe.

Biography: Darren Rigo is a Toronto-based artist who creates work inspired by the absurdity in everyday life. His practice reacts to location as a source of inspiration while considering the endlessly evolving nature of photography. He received a BFA from OCAD University where he majored in photography and recently completed residencies at AIAV (Japan), Leveld Kunstnartun (Norway), and AIRY (Japan). His work has also been included in the collections of the Beaverbrook Art Gallery in Fredericton and the Kiyosato Museum of Photographic Arts in Japan. Local public installations of his work have been commissioned by SickKids Hospital, Daniels Corporation and Plazacorp Investments.

Susy Oliveira, Untitled (dried flower), 2021

8 x 10.6 inch watercolour and inkjet on watercolour paper

Edition of 1

$400 unframed


Artist Statement: Inspired by hand-tinted photographs, this work is an inverted version of that technique. A watercolour of a scanned image was made and then the scanned image was printed on top of the watercolour.

Biography: Susy Oliveira lives and works in Toronto. Exhibitions include shows at Erin Stump Projects (ESP), Toronto; the Hole, New York; the Khyber, Halifax; PLATFORM centre for photographic + digital arts, Winnipeg; and the Museum of Contemporary Canadian Art, Toronto.

Tom Hsu, Blue Roo, 2017


8 x 14 inch inkjet print

Edition of 5 + 1 AP (1 framed, 4 unframed available)

$600 framed, $400 unframed

Artist Statement: Blue Roo is drawn from a larger portfolio of works that observe the everyday banal. Hsu’s work investigates the curious condition of spaces and their correlation to the bodies that attend them.

Biography: Tom Hsu is a visual artist whose work seeks to investigate the curious condition of spaces, and their correlation to the bodies that attend them. He comes from a background in analog photography, and this stability allows him to extend into made, found, and choreographic sculpture—all of which deal with the everyday mundane. He currently lives and works in Vancouver and holds a BFA in Photography from Emily Carr University of Art + Design. He undertook a residency at Burrard Arts Foundation Spring 2018 and has exhibited at Libby Leshgold Gallery, Gallery TPW, Macaulay & Co. Fine Art, Centre A, Yactac Gallery, Unit/Pitt, and Index Gallery.

Tom Hsu, Red Glows Behind, 2020

8 x 14 inch inkjet print

Edition of 5 + 1 AP (1 framed, 4 unframed available)

$600 framed, $400 unframed


Artist Statement: Red Glow Behind is drawn from a larger portfolio of works that observe the everyday banal. Hsu’s work investigates the curious condition of spaces and their correlation to the bodies that attend them.

Biography: Tom Hsu is a visual artist whose work seeks to investigate the curious condition of spaces, and their correlation to the bodies that attend them. He comes from a background in analog photography, and this stability allows him to extend into made, found, and choreographic sculpture—all of which deal with the everyday mundane. He currently lives and works in Vancouver and holds a BFA in Photography from Emily Carr University of Art + Design. He undertook a residency at Burrard Arts Foundation Spring 2018 and has exhibited at Libby Leshgold Gallery, Gallery TPW, Macaulay & Co. Fine Art, Centre A, Yactac Gallery, Unit/Pitt, and Index Gallery.