top of page

What We Hold 

Meera Margaret Singh

Curated by Noa Bronstein

January 18 – March 30, 2024
Extended until April 6
Opening reception: January 20, 2-4pm

Delicately and carefully balanced on a twig that itself is precariously balanced on a bottle, the smallest object in What We Hold – a one quarter anna from 1941– is immense in other ways. Belonging to Meera Margaret Singh’s father, the coin is one of the few belongings that accompanied him when his family fled India during the partition. He was five years old at the time and along with this slight possession carried with him memories of violence and trauma. 


The coin is part of an arrangement of objects collected and inherited by Singh that she has configured into a sculptural work referencing the potency of everyday things in our everyday lives. Joined by a series of photographic still lifes and further sculptural work, What We Hold traces familial histories and memories through objects – some joyful, others haunted. Throughout the exhibition, objects are witness to the quiet and loud punctuations that inform the lives of their bearers and the ghosting quality that items of personal significance accrue over time. Teased out from their domestic interiorities through image and assemblage, these objects serve as conduits of recollection and offer continuities of connection tangibly linking the past and present. As sites that enunciate affective relations, their temporal registers constitute the multitude of meanings stowed within their various forms. 

Figures are largely absent in Singh’s photographs. When they do appear, it is primarily through hands and arms – pointing beyond the tactility of found and acquired objects to the haptics of the images themselves. As Tina M. Campt’s writing has knowingly conveyed, photographs are not merely visual representations. Collected, displayed and circulated, images are objects of touch that inform the act of viewing through the triangulation of the “optic, tactile and emotive.”¹ When referencing the significance of the haptic in relation to domestic photographs, Campt notes that materiality and tactility shape the social life of the image onto which are mapped complex affiliations, desires, sentiments and attachments.² Singh’s layered renderings of the haptic substantiate the sensate and affective attributes of objects within images and images as objects. 

One particular photograph of Singh’s stands apart from the rest, tonally and visually. Birds of a Feather shows Singh and her son holding bird masks up to their faces – he faces the camera; she faces her son. The image articulates a compelling refrain within the exhibition – parenthood and intergenerational relationships. Books, shells, vases, trinkets, rocks and plants narrate of time spent and stories shared between child and parent, with Singh playing both parts. These are stories of loss, migration, marriage, ruptures, illness, recovery, healing, love and endlessly it goes on. While the intimacies of the objects on view are shared in whispered tones so that their secrets remain closely held by their keepers, they tell us that the archive of a life is abundant.

– Noa Bronstein


¹ Tina A. Campt, Image Matters: Archive, Photography, and the African Diaspora in Europe (Durham: Duke University Press, 2012), 44.

² Ibid, 34.


MMS_edit-00079_comp_alt4__16H_BRDRS_1000 (1).jpg

Birds of a Feather, 2023. Courtesy of the artist. 


Exhibition Tour with the Artist and Curator

Saturday, February 24, 2pm  - 3pm 


Saturday, January 27, 2pm - 3:30 pm 


Through a curated selection of poems inspired by Meera Margaret Singh’s exhibition, we will delve into questions of personal agency, inherited trauma, and intergenerational transmission.

Inheritance is part of poet-in-resident Farhia Tato's program, Tender Possibilities. Learn more here


Meera Margaret Singh is a visual artist based in Toronto, Canada. She holds a BA in Anthropology, a BFA in Photography from the University of Manitoba in Winnipeg, and an MFA from Concordia University, Montreal.


Singh has been the recipient of numerous residencies and awards, most notably Canada Council for the Arts, Ontario Arts Council and Toronto Arts Council grants. She has been a selected artist at the Banff Centre for the Arts; artist-in-residence at The Art Gallery of Ontario; artist-in-residence at 1Shanti Rd in Bangalore, India; artist-in-residence at JACA Residency, Brazil; selected artist in an international residency with German photographer Thomas Struth at the Atlantic Centre for the Arts, Florida; scholarship winner and participant in the Magnum Workshop with photographer Alessandra Sanguinetti; visiting artist/instructor at the National Institute of Design in Ahmedabad, India; McCain Artist-in-Residence at the OCAD University, Toronto. She has exhibited widely in group and solo exhibitions throughout Canada and internationally. She is currently an Assistant Professor at OCAD University.


Noa Bronstein is a curator and writer based in Tkaronto/Toronto.



Installers: Fehn Foss (lead) and Jon McCurley. 

Photo documentation: Darren Rigo

The artist and gallery acknowledge the support of the Canada Council for the Arts, Ontario Arts Council and Toronto Arts Council. 

bottom of page