Join artist and Akin Space Award Winner, Kseniya Tsoy as she presents her debut book—written and illustrated to share the wonders of Uzbekistan, her first home.
Read MoreAll of the Glory, None of the Spending by Charlotte Van Ryn (@charlottevryn) is now on view at Akin Vitrine Gallery until the end of March! 1747 St. Clair Ave W at Akin St Clair - viewable 24/7 from the sidewalk.
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Image Description: Artist Theresa Hopkins’ installation, Kiddo, hanging in the Akin Virtine Gallery. A cylindrical round of beads hangs from the ceiling of the gallery. The beads are white with pink clouds, with blue beaded tassels hanging from the bottom. Blue beading across the white and pink sky read “chin up kid’.
We’re excited to announce a brand new installation at Akin’s Vitrine Gallery! Running until January 30th, Artist Theresa Hopkins’ installation Kiddo will be viewable from the street at Akin St Clair, at 1747 St Clair Ave W. Be sure to swing by and check it out. In the meantime, we reached out to Theresa to learn more about her work and inspirations.
Theresa Hopkins is a black multi-disciplinary artist and arts organizer living and working in Toronto. She focuses on themes surrounding identity, emotion, and her interactions with the world through her unique lens. Using colourful and tactile materials and subject matter, her work draws on nostalgia juxtaposed with mature themes. Her installation entitled Kiddo, runs from December 1- January 30th.
Image Description: A photograph of artist Theresa Hopkins standing against a blue background. Theresa has long wavy black hair, blue eyeshadow and wears a white t-shirt. She is facing the camera, holding a flag with a cartoon of Roger Hargreaves’ Little Miss Chatterbox.
About the Installation
‘Kiddo’ represents the vast majority of adults born as millennials who are currently experiencing arrested development, Kidults, and people who are failing to launch. Is there a place in your life you think you “should” be by now?
What are you curious about right now? What do you do to stimulate curiosity and inspiration?
Theresa Hopkins: “These days, I’m focusing on play. I believe relationships are garnered and watered through the ability you have to play together. Whatever the capacity. Being “silly” is so important. To get inspired I convene with nature, I make up scenarios with friends, I play children’s games.”
What was your first medium and what's your favourite tool/material right now?
TH: “One of my first mediums was definitely beads. I used to be obsessed with friendship bracelets and animals made out of pony beads strewn with elastic string. When I was 15 I used to make beaded cuffs and bracelets for friends I used to rave with. It’s funny how I’ve returned back to it now. I guess we are creatures of habit after all.”
Do you have a studio routine?
TH: “I am definitely someone who has project focused spurts of inspiration. I tend to do many projects at once though so perhaps it’s actually hurting me more than helping me since finishing work takes me a while.”
Image Description: A close-up photos of Artist Theresa Hopkins’ installation, Kiddo, hanging in the Akin Virtine Gallery. The beads are white with pink clouds, with blue beaded tassels hanging from the bottom. Blue beading across the white and pink sky read “chin up kid’.
Do you have creative prompts or habits to help you get started? Any self-care tips to share?
Honestly most of art happens away from the canvas. It’s easy to berate yourself for not “working” on your work when I think in actuality, we are constantly working on work by just living our lives. I don’t try to limit myself to only mediums I’m comfortable in. I find it helps me to make art that “doesn’t have a purpose” it’s in those moments when I can really experiment.
As in regards to self-care I think it’s important to have a healthy community that can be a sounding board for ideas. Take criticism graciously and always ask questions to yourself. Give yourself time and show up for yourself.
Is there an artist you'd like to go back in time to meet? Or someone you'd love to invite to dinner right now? Who is it and what would you ask them about?
TH: “Not really, most of the artists I like are here, now.”
What are some of the benefits of being in the studio for you? What brought you to Akin?
TH: “I love having a community around that inspires me. Seeing other artists in different phases of their practice gives me hope for the future of the arts in this city. Working at Akin has given me purpose like no other, and being able to serve a community I’m a part of is extremely fulfilling.
I joined Akin after a 3 year hiatus of making or showing my artwork. I had convinced myself for a number of years that being in survival mode and putting all my effort into working to pay rent was top priority. I decided one year to make a painting for a friend and needed a place to work. I ended up joining Akin and it’s one of the best decisions I could of made for my practice.”
What are you NOT very good at? What do you WANT to be good at?
TH: “Wish I was better at attending art shows, it seems like I only get out when someone I know is involved. I’ve made this a goal of mine for the upcoming seasons!”
Check out Kiddo at the Akin Vitrine Gallery, 1747 St Clair Ave W, viewable 24/7 from the sidewalk, on till January 30th, 2024.
See more of Theresa Hopkins’ art @Thopkinsart
Akin St Clair / Akin Vitrine
At Remote Gallery, our 2024 pricing is available through February 2025! Centrally-located at 568 Richmond Street West, Remote is perfect for your winter pop-up, art market, exhibition, or holiday gathering. The gallery is a 300 sqft, street level venue with gallery lighting, floor to ceiling windows, polished concrete floors and occupancy for up to 40 guests.
Why Now?
Reserve your dates in December,January and February to lock in our current pricing before it increases in March 2025. Akin members enjoy an additional 10% off December rentals!
Currently Available Dates:
December 2-4, 8-9, 16-31
January 1-22
February 1-19
Create memorable moments in a space built for art and community! For bookings and more details, reach us at gallery@akincollective.com
Image Description: a photograph of Remote Gallery with bright light coming through the window. The space is empty with dark floors and bright white walls. Overtop of the photo is decorative snowflake drawings around the corners.
Image Description for the images above: a slideshow showing 5 photos of Remote Gallery in various configurations including set ups with tables and chairs, an exhibition with people in attendance throughout the space, and installations with various artwork and objects on the walls and in the space.
On October 12th, we had the pleasure of opening our doors to the community for the Akin Queen East Open Studio, and we couldn't be more grateful to everyone who came and made the event such a success!
A huge thank you to our amazing Akin members for showcasing their work and welcoming visitors with such warmth and enthusiasm. The sense of community was palpable, and it was wonderful to see so many meaningful connections made throughout the day.
We also want to extend our heartfelt thanks to Nurielle Stern of Lost and Found Gallery and the artists from the 1-800-INF-ERNO exhibition for collaborating with us for the day. They truly added another layer of inspiration and we’re so glad to have shared this special occasion with them.
Lastly, a big thank you to all of our guests! Whether you’re an artist, an art lover, or simply curious about our space, your presence and support mean the world to us. It was fantastic to meet so many new faces, and we look forward to welcoming you again in the future— Until then, enjoy the photos from the Open Studio!
Image Descriptions: a slideshow of images showing artists and guests at Akin Queen East during the open studio. There are different people who are talking to each other, smiling, and looking around the studios. Artwork and art materials can be seen in the studio space including paintings, sculptures, and textile works.
List of participating artists:
As well as the artists featured in the 1-800–INF-ERNO installation at The Lost and Found Gallery: Micki-Lee Smith & Zakriya Bashir-Hill, in collaboration with Diana Lawryshyn, Pratap Mathews, & Yun Young Lee. Also featuring paintings by Diana Lawryshyn.
Whisperers of Chaos is an exploration of the delicate interplay between order and chaos, as well as the lingering echoes of childhood nostalgia.
Drawing from her own childhood experiences, Lana Yuan navigates the decayed and abandoned spaces where her imagination once thrived. These spaces, now standing as metaphors for the untouched facets of the psyche, reflect the transient nature of human existence and the shifting socio-political dynamics of urban environments. Through the use of plaster, found objects, and steel tubes, each sculpture encapsulates the essence of these forgotten places. Each piece serves as a vessel for uncovering hidden narratives, revealing the inherent beauty that lies within vulnerability and disorder.
Learn more about Lana’s work at www.lanajyuan.work and @ Lana_yuan
Lana is a 2023 Space Award Winner. this award is a partnership between Toronto Arts Foundation, Neighbourhood Arts Network and Akin. This award focuses on providing affordable shared studio and/or exhibition space to newcomer professional artists who are past recipients of our Newcomer Arts Access Award (formerly known as RBC Arts Access Award). This award not only provides funding and space essential for professional artists to grow their practice, but also supports artists in growing their network through the shared studio space model.
Special thanks for the support from:Government of Ontario @ongov
Kristyn Wong-Tam, MPP Toronto Centre @kristynwongtam
Ontario Arts Council @ontarioartscouncil
Akin Projects @akinprojects
Toronto Arts Foundation @torontoartsfoundation
Neighbourhood Arts Network @neighbourhoodarts
Remote Gallery, 568 Richmond Street West
Image Description: The artist is pictured sitting on a wooden floor in the corner, holding one of her clay creations with more at her feet. The walls behid her are covers by large panels of paper with her large scale drawings. The following words are displayed “Azadeh Pirazimian, 2023 Space Award Winner” At the bottom the following logos appear “Akin, Toronto Arts Fundation and Neighbourhood Arts Network”
Azadeh is a 2023 Space Award Winner. this award is a partnership between Toronto Arts Foundation, Neighbourhood Arts Network and Akin. This award focuses on providing affordable shared studio and/or exhibition space to newcomer professional artists who are past recipients of our Newcomer Arts Access Award (formerly known as RBC Arts Access Award). This award not only provides funding and space essential for professional artists to grow their practice, but also supports artists in growing their network through the shared studio space model.
Azadeh Pirazimian is a multidisciplinary artist, art educator based in Toronto and former lecturer in Iran. With a passion for exploring themes of self-expression, communication, daily resistance, through diverse media, including drawing, painting, photography, performance, and sculpture. Her methodology has been consistent throughout her career, resulting in her own distinctive visual language.
Over the years, Azadeh has showcased her works at multiple exhibitions in Iran, Canada, and the Netherlands. Her art in Canada has received recognition through the Newcomer Artists Mentorship Grant and RBC Space Awards.
Azadeh holds a bachelor's degree in painting and a master's in visual communication. In the fall of 2023, Azadeh will pursue her MFA at University of Waterloo, where she can develop her artistic skills further.
View more of her work at www.azadehpirazimian.com/ and @azadeh_pirazimian
Image Description: Background image of graphic squiggles and shapes in pastel colours around the border with white in the middle. The words: “HUMAN PARTY, Participatory Art Experience for Everyone” Dates and Location listed below in copy.
“I am very grateful for the Space Award. Having access to a venue like Remote Gallery where I could test my ideas, bring people together and showcase art is huge and very much appreciated.”
Kseniya is a 2023 Space Award Winner. The Newcomer Space Award is a partnership between Toronto Arts Foundation’s Neighbourhood Arts Network and Akin. This award focuses on providing affordable shared studio and/or exhibition space to newcomer professional artists who are past recipients of our Newcomer Arts Access Award (formerly known as RBC Arts Access Award). This award not only provides funding and space essential for professional artists to grow their practice, but also supports artists in growing their network through the shared studio space model.
Remote Gallery, 568 Richmond St W
Image Description: A tattooed individual stands in a striking off-the-shoulder blue dress, with flowers scattered across the dress and trailing onto the ground. In the background is a serene body of water, arid land, and low hills.
Queer body is in constant transformation, reviewing identities and expanding possibilities of expression. They are fluid, liquid, and exuberant, just like the eternal dynamics of life.
The exhibition FLUIDS brings together a collection of video art, photographs, and live performances from three queer artists who question the status quo and rigidity of binary gender determination. Drawing from their research and personal live experiences, the artworks reflect on the theme of the fluidity of our bodies, and the freedom of being ourselves.
Featured artists: @galactticaaa, @queer.portraits, @renato.baldin, @mariaallass
Visitation Hours:
Fri., June 21, 2 - 8pm
Sat., June 22, 2 - 10pm - Maria Allass performance at 8:30 pm
Sun., June 23, 2 - 6pm
Remote Gallery, 568 Richmond St W
Image Description: A colour photograph of a person holding a large bundle of balloons obfuscating their face. They are standing on small rocks next to a large bolder by a body of water with trees and a sailboat in the background.
Helio Eudoro is a Brazilian-Canadian multidisciplinary artist based in Toronto. He holds a BFA (Hons.) in Sculpture and Installation from OCAD University (2022). His work explores the intersection of identity, gender, sexuality, diaspora, and aging. Eudoro's art investigates themes of possessions, waste, and the cycle of mindless ownership, seeking to spark dialogues that challenge our understanding of body and identities, as well as material systems and their impact on consumption and disposal habits. He has received several grants and awards, including the 2022 OCADU Carmen Lamanna Award and the 2020 RBC Newcomer Arts Award. Eudoro's artwork has been exhibited in galleries and museums across Canada and Brazil, including the Art Museum at the University of Toronto in 2023 and ArtworxTO in 2022. His art is featured in collections such as the Museu de Arte Moderna da Bahia and the Museu de Arte Contemporânea of Rio Grande do Sul in Brazil.
Helio is a 2023 Space Award Winner. The Newcomer Space Award is a partnership between Toronto Arts Foundation’s Neighbourhood Arts Network and Akin. This award focuses on providing affordable shared studio and/or exhibition space to newcomer professional artists who are past recipients of our Newcomer Arts Access Award (formerly known as RBC Arts Access Award). This award not only provides funding and space essential for professional artists to grow their practice, but also supports artists in growing their network through the shared studio space model.
Learn more about Helio’s work at @helioeudoro, @nada_is_nothing and helio-eudoro.format.com
FUNDING PROVIDED BY
The Newcomer Space Award is made possible with the support of RBC.
Image Description: Illustration of a human wearing a pink scarf on their head under a textured background of light blues. The following text lives on a solid chartreuse rectangle. Being Scene MAR 30 - APR 19 Remote Gallery, APR 5 - MAY 3 Workman Arts Offsite Artscape Youngplace, MAR 25 - APR 20 Workman Arts & Tangled Art + Disability Artist in Residence Exhibition
The Being Scene Annual Juried Exhibition serves as a platform to showcase the rich and varied talent within the Workman Arts community. We aim to continue brightening the city with our diverse and inclusive exhibition. This annual event is a celebration of creativity that contributes to and fosters a sense of belonging within the broader cultural landscape.
This year, the Being Scene exhibition will be held at two locations: Remote Gallery, opening Saturday, March 30, and Workman Arts’ offsite location at Artscape Youngplace, opening Friday, April 5. These springtime exhibitions will display over thirty juried artworks selected by Aidan Cowling (The Blackwood Gallery), Heidi Persaud (Tangled Art + Disability), and Jesse King (Art Gallery of Ontario).
March 30 - April 19
Wednesdays to Sundays, 12-5 PM (closed Mar. 31)
March 30, 5-8 PM, Remote Gallery, 568 Richmond St. W.
Image Description: Illustration of a human wearing a pink scarf on their head under a textured background of light blues. The following text lives on a solid chartreuse rectangle. OPENING RECEPTION: Sat. Mar. 30, Remote Gallery, 568 Richmond Street W. Toronto, ON M5V 1Y9
Participating Authors/Artists:
Áine Belton
Adi Amit
Anna Camilleri
Cassandra Chassi
E. Franklin
Grigio Liu
Ica Pas
Jace Traz
Lorette C. Luzajic
Ronald Berberich
Serena McCarroll
Shannon Taylor-Jones
Stephanie Avery
Remote Gallery, 568 Richmond Street W. Toronto, ON M5V 1Y9
Ashley Snook (Akin Dupont) is an award winning interdisciplinary artist, researcher and educator. She holds a PhD in Art and Visual Culture from Western University. Informed by biology, scientific research and socio-cultural dynamics, Snook explores the complexities of diverse living networks and the concept of animality. To Snook, exploring ones own unique position in animality has the potential to open perspective on human existence and relationships with one another, human-animal relationships, and relationality to the more-than-human world. It is a rebellious act against hegemonic forces that have enabled things like environmental degradation, capitalism, hate, overworking, and conformity. Her practice explores connections through differences, impermanence, composting, and imaginative reworlding, and therefore, animality is a constant theme of contemplation in Snooks work. Working predominantly in drawing, sculpture and installation, animality is imbued in everything she does. She is fascinated by the micro and macro relationships between human animals, nonhuman animals, bacteria, fungi, and vegetal/botanical life—this prompts her to blur distinctions as to what is human, animal, plant, living, or nonliving. Within these methods of creating, Snook looks to ways in which she can further engage her audience. This often looks like incorporating viewer participation, encouraging presentness, sensory awakening, for example, by incorporating smell, mood lighting, tactility, sound, and playfulness in her work.
View her entire Artist Project profile here
Janne Reuss (Akin Yonge-St Clair) was born and raised in Mexico City and is currently based in Toronto, Canada. She has been a professional practicing artist for more than two decades, having lived, worked and exhibited her artwork in Mexico, United States, Germany, Italy and Canada. She studied Fine Arts at the Academy of Art & Design in Stuttgart, Germany. Her preferred media are photography and collage, but she also paints, often cycling fluidly between the three. A constant theme in Janne’s work is her interest in human nature and how memories and experiences are imprinted deep inside of us. Janne’s work is held in private and public collections including the Donovan Art Collection at St. Michael’s College (Canada) and the Municipal Gallery of Ostfildern (Germany).
View her entire Artist Project profile here
Jen Arron works with globally sourced fibers in her studio-based practice. Weaving in a freestyle approach, her large-scale pieces reveal connections about time, texture, and materials. Jen’s process of discovery often reflects an ecosystem of life.
View her entire Artist Project profile here
Lindsay Chambers (Akin Richmond-Bathurst) is a contemporary Canadian artist who currently lives and works in Toronto. Her work belongs to collections across Canada, as well as in the United States, UK, Dubai, New Zealand, Australia, Switzerland and Japan. Her work explores the delicacies of the human condition through paintings based on crumpled paper sculptures. All reference material, including any pattern or text, is carefully executed by the hand of the Artist. Chambers’ painting objective is to explore materials, to manipulate paint and maintain the visibility of layers. At all times a viewer is reminded of the painting process through layers of paint, variation in directional brushwork, and texture. These works are not as concerned with realism, rather the fluidity of materials and the painting process.
View her entire Artist Project profile here
Loren Kaplan (Akin Dupont). In my work I integrate symbolic, visual, tactile and spiritual values – blending form, function and meaning. My work resonates with light, sound, pattern and texture and includes pieces that are created by coiling and hand-building as well as specialized ranges of thrown work. Once built, the surface of the vessels are carved, sculpted or engraved with intricate patterns and symbols that combine the geometric and organic. There are many diversities and extremes that I try and hold and balance within my life and work. Within them all, they hold the silence and meditation of the making, the time, the process and the attention to detail. I make vessels because containers are about potential. My focus is on the space-in-between; defined spaces of emptiness making room for something to be held.
Miles Ingrassia (Akin Dupont) is a painter and printmaker based out of Toronto.
View his entire Artist Project profile here
Image Description: Text that reads “SEAMLIGHT” overlaid on a photo of Shayla Bond’s artwork, a minimalist 12” x 12” sewn textile work.
Image Description: Shayla Bond’s piece Seamlight installed inside the Akin Vitrine Gallery, a white box with two thin fluorescent tube lights on the ceiling. Light boxes are mounted on the three walls of the vitrine gallery, symmetrically aligned, each with woven textiles inside, one gray, one yellow, one navy blue.
Shayla Bond is a Canadian process artist who integrates design principles into fibre works to preserve heritage craft techniques within a contemporary framework. Her work explores themes of perfectionism, control, and obsession through aesthetic strategies such as colour, precision, and repetition.
Her exhibit, Seamlight, runs from March 11th to April 11th and features three 12" x 12" sewn textile works elegantly framed and installed, offering a captivating blend of minimalist aesthetics and innovative functionality.
At first glance, these works appear as solid-coloured textiles. However, they possess a hidden surprise – they can be turned on to emit a soft, mesmerizing glow. This subtle illumination serves a dual purpose: it not only enhances the visual appeal of the pieces but also unveils the concealed craftsmanship typically found on the reverse side of sewn garments and linens. By casting light on the intricate seams and stitches, this installation invites viewers to appreciate the meticulous artistry that goes into creating textile works prompting viewers to reconsider the beauty and artistry inherent in everyday objects.
Image Description: An image of artist Shayla Bond’s piece Seamlight. Three light boxes are mounted to a white wall in a vertical line. Inside the frames are woven textiles with a lightsource behind them. The textiles are dark blue, yellow and gray respectively. A cord hangs from the bottom of each lightbox.
What are you curious about right now? What do you do to stimulate curiosity and inspiration?
Currently, I'm curious about the ways that pliable materials can be manipulated into solid or 3 dimensional structures. Continually, I am curious about how I can drive deeper into the art of heritage craft techniques while still creating works that feel visually relevant in today’s aesthetic obsessed world. Simultaneously moving backward and forward in time.
What was your first medium?
The first medium I can remember using was cheap acrylic paint. My craftsmen mother always had them laying around as she used them in her primitive woodworking. She would cut out shapes from wood and allow me to paint them.
Do you have a studio routine?
I am in my studio most days from 9-5pm. When I arrive at 7am, I am most prosperous and productive in creating as I am a morning bird. I try to segment the commercial side of my business, creating, and admin work by days, and avoid using those parts of my brain all in one day. One day a week I try to work on grants and exhibition proposals.
Image Description: An image of artist Shayla Bond’s piece Seamlight. Three light boxes are mounted to a white wall in a vertical line. Inside the frames are woven textiles with a lightsource behind them. The fabric is illuminated by the light, revealing the seams and accentuating the honeycomb-like shapes of the stitching. A cord hangs from the bottom of each lightbox.
Do you have creative prompts or habits to help you get started? Any self-care tips to share?
I begin my day as soon as my eyes open by rolling over in bed and doing ’morning pages’, which is something I took away from the book The Artist's Way by Julia Cameron. Morning pages are 3 written stream-of-thought pages of journaling that can be a huge guiding force for my day. It helps me focus on priorities top 'wants' before any other thoughts, or worries adulterate my brain. As someone with ADD, it helps me set my intention for the day and when reviewing what I wrote the following day, helps keep me on track with goals.
Is there an artist you'd like to go back in time to meet? Or someone you'd love to invite to dinner right now? Who is it and what would you ask them about?
This is a hard one. So many talented people who paved the way for craft-based artisans today, blurring the line between fine art and craft. I would love to go back in time and meet Alexander Girard, renowned architect, interior designer, furniture designer, industrial designer, and a textile designer. As someone who feels quite disciplinary in my approach to textiles, I'd like to ask about his design process and cross pollination of mediums, along with some of his values/beliefs. He's known to have had a manifesto that guided his practice.
What are some of the benefits of being in the studio for you?
Being in the studio has multiplied my growth as an artist. Having a space that is dedicated to your practice can be hugely beneficial to your production. There are little distractions that there would be at home, when you arrive, you simply pick back up where you left off the previous day, and you are also offered that sense of validation and confidence so many artists crave and need when claiming, "I am an artist". It is a tiny world in which your creativity can live in full force.
What are you NOT very good at? What do you WANT to be good at?
I am not good at saying no, and prioritization. I take on too many projects which splits my ability to get better in individual areas and can stunt growth. As someone who tries too hard to be good at everything, I think my answer to this would be that I am actively trying to reframe and be happy with NOT be good at everything - because it's unattainable! 🙃
You can find more of Shayla’s work on her website www.shaylabond.com and on her instagram @bushclass
The exhibition will be up from February 9th - March 9th. The gallery is visible from the street 24/7, if you’re in the neighborhood, be sure to drop by and take a look. In the meantime, read on to find out more about Tam’s work and inspirations!
Image above: Artist Tam Phan, waring a respirator mask
About the artist:
Tam Phan is a Vietnamese-Canadian artist based in Toronto who loves working with stained glass. Her practice explores themes of nostalgia, wonder, feeling lost, and identity. Her new installation titled ‘Every Day I Wake Up and I'm Still in Tokyo’ will run from February 9th - March 9th in the Akin Vitrine, and will showcase various stained glass pieces, lite brite toys, and a gifted TTC lightbox. The installation is inspired by her trips to Vietnam and Japan.
See more work on Tam’s instagram
Tell us about your exhibition!
Tam: “Everyday I Wake Up and I'm Still in Tokyo was inspired by a trip I went on to Japan and Vietnam in 2023. I felt lost on this trip and it impacted how I viewed myself and my identity. Although unsteady, I felt comfortable with my reading and conversational skills in Vietnam, plus I had family there who made me feel mostly at home. But once I got to Japan I felt lost again, and those feelings were amplified by being physically lost in a place where I couldn't understand anything.
I decided to take lots of pictures of the shop and restaurant signs, and three were my inspiration for the stained glass collection I have in the Vitrine Gallery. Each one is colourful, vibrant, and has Kanji in it, but there's a small feeling of sadness when I look at each of them. I manipulated the colours, design and shapes but ultimately kept most of them true to the original.
Thank you to the Toronto Arts Council who generously supported this project.”
Image above: Artist Tam Phan is standing beside the Akin Vitrine Gallery and looking at it. In the gallery are many colourful pieces of stained glass artwork incluing a large piece featuring a piece of chocolate cake with red cherries on it in front of an orange and blue background.
What was your first medium and what's your favourite tool/material right now?
Tam: “Just a paper and pencil! I was also obsessed with gel pens.”
Do you have a studio routine?
Tam: “I am definitely a project-focused artist. My studio mates will not see me for months until I have a new passion project. Then you'll see me in the studio every day, cutting, grinding and foiling like a mad scientist.”
Do you have creative prompts or habits to help you get started? Any self-care tips to share?
Tam: “Just do it! Go to the studio even if you don't have everything ready. I'm always surprised by how inspiring it can be to just give yourself space in the right environment. I also divide my time at the studio with playing badminton, and I find the two (making art, play badminton) inspire and motivate each other in odd ways.”
What are some of the benefits of being in the studio for you? What brought you to Akin?
Tam: “There are so many benefits. Even though every morning is a constant battle to get out of the door, once I'm at the studio I feel my creative side break through. The community, having an alternate space for creativity, and for this specific project, every single one of my studio mates helped me from cutting to design to installation or even just a short pep talk. It was incredible and made me so emotional. Everyone wanted me to succeed.
I signed up for a space at Akin during the pandemic when I desperately needed a change of scenery and a chance to work with my hands. Being at Akin has changed my worldview in many ways.”
What are you NOT very good at? What do you WANT to be good at?
Tam: “Not good: meeting deadlines. Want to be good at: meeting deadlines!!”
This project was produced with the support of the City of Toronto through Toronto Arts Council. #poweredbyTAC
Images above: Colourful multi-media artworks by Bernadette Peets. Each piece 12”x12”. Titles in order from left to right: “Clouds”, “Crane River 4” and “Little Pond”.
About the Exhibition
In this latest exhibition, Peets invites us to explore her series of "small layered landscapes." These pieces are more than representations of physical spaces; they are windows to the emotions and sensations experienced within them. Created initially en plein air, these artworks were later transformed in her studio with the addition of striking neon plexiglass layers.
The result is these colourful pieces with depth that beckon viewers to engage with the art from various angles and perspectives, much like one would naturally experience in a real landscape. The swift, loose execution of these pieces contrasts beautifully with the deliberate layering, creating a dynamic visual experience that is both stimulating and thought-provoking.
About the Artist
”In my practise of nearly 30 years, I have been constantly searching for ways to express my thoughts, ideas and feelings sincerely and honestly. I am weary of becoming known for my ‘style’ or recurring themes as this would not reflect who I am as a person. I am constantly growing and evolving and my art reflects this as well.
Over the years I have worked with many tools, materials and methods and I have always tried to match the medium with the subject matter as a way to reinforce and strengthen the work.”
Bernadette’s foundation in drawing and painting, coupled with her extensive experience in theatre design, costume, and prop making, has equipped her with a diverse skill set. This versatility allows her to seamlessly blend various materials and techniques, from sculptural works and installations to multi-layered 2D images.
“There is often a subtle message in my work that invites the viewer to invest some time to look beneath the surface and to involve them in a participatory way.”
Visit www.bernadettepeets.com for more of Bernadette’s creative work.
Image Description: Artist Bernadette Peets in her studio working on a painting. Bernadette is holding a paintbrush up to a large canvas which has a work-in-progress painting in bright orange and blue paint. Image couretsy of www.bernadettepeets.com
About the Gallery
The Akin Dupont Vitrine Gallery is a space dedicated to showcasing the diverse talents of Akin Dupont studio members. It's a small window gallery that faces the hallway, offering a novel and accessible way for the public to engage with art. Nestled beside Ink & Water Tattoo, and just down the hall from Franz Kaka Gallery. The building is open to the public from 8am-8pm.
An image of Chico Togni’s sculpture, Portable Moon (with physics) in the Akin St Clair’s Vitrine Gallery. An American flag (without the white stars), sewn against a beige sheet appears to be waving. The flag is attached to a pole sunken into a sculpture of a jagged rock.
Be sure to swing by Akin St Clair’s Vitrine Gallery at for Chico Togni’s new exhibition, Portable Moon (with physics), which will be on until January 7th, 2024. We caught up with Chico to learn more about his art, inspirations and favorite places in the city.
Chico Togni works with cardboard, fabric, wood, metal and other found materials to create images and large sculptures. He also creates situations and happenings within the structures he builds. Most recently he exhibited his work at Kunsthaus Dresden and the Museum der Bildenden Kunst (MdbK) Leipzig, in Germany. He was an artist in residency at Cité International des Arts in Paris and Museumquartier in Vienna amongst other institutions, including the Artist Research Fellow at the Smithsonian Institute in Washington D.C., EUA. Chico Togni holds a Bachelor in Sculpture from São Paulo University, Brazil. Chico is currently based in Toronto where he is experimenting with quilting and developed the Bellaroche Stories, an expanding series of quilts and collages that narrates the trajectory of rocks, power tools and visual paradoxes.
“Portable Moon with Physics” is a scientific contemplation. Crafted from paper maché, cardboard, and found material, this piece offers a fresh perspective on the moon's iconic flag. This sculpture represents the lunar flag, as if it were experiencing Earth's gravity, mirroring the calm and stillness of a terrestrial flag on a windless day.
A fan generates a gentle breeze that delicately rustles the flag, preserving its position as if unaffected by the lunar environment. "Portable Moon with Physics" invites observers to reflect on the fascinating interplay of scientific principles and creative interpretation. It pays homage to the delicate equilibrium between the celestial and terrestrial realms, where even in the absence of a terrestrial atmosphere, the presence of gravity remains ever-present. The sculpture's title, "Portable Moon with Physics," encapsulates the humorous blend of science and art, reminding us of the unbreakable connection between fiction and science...
This is the first attempt of the artist, to merge the clean and neat necessities of the world of quilting fabric and the dirty and chaotic sculptures with cardboard, found materials and paper maché.
Collage and Sculpture.
Cardboard and Cardboard.
Both! Studio routine and project focused, depending on what I'm working on, the routine gets just entirely focused on the next mission!
I just keep trying to do everything with found materials, “survival mode” on.
A detailed, close up image of Chico Togni’s piece, Portable Moon (with physics), a fragmented American flag, missing its white stars, is sewn into a beige fabric in such a way that it appears to be waving in the wind.
To share a space and feel part of a group with similar needs.
Bureaucracy...
Dollarama / Street / Home Depot (last option)
Ikea... the challenge of going there and trying to buy nothing, just try everything...
Whimbrel Point at Colonel Samuel Smith Park
An image of Chico Togni’s sculpture, Portable Moon (with physics), an American flag (without the white stars), sewn against a beige sheet appears to be waving. The flag is attached to a pole sunken into a small red and beige stool. The sculpture is outdoors, on gravel ground with tire tracks, behind the sculpture are dirty snow piles, reminiscent of a ploughed parking lot.
Chico is an Akin studio member as well as a 2023 recipient of the Newcomer Space Award. Created by Akin, the Toronto Arts Foundation’s Neighbourhood Arts Network, the Newcomer Space Award provides newcomers credit for an Akin studio membership and to Akin’s Remote Gallery. This award not only provides funding and space essential for professional artists to grow their practice, but also supports artists in growing their network through the shared studio space model.
Find more of Chico’s work on his Instagram @bellaroche_stories and website
A closeup of the paintings in Tiana Robinson’s exhibition, A Simpler Time, against the white walls of the vitrine gallery. Amidst poems, the vibrant, colourful paintings on paper are detailed renderings of flowers and a young girl blowing a dandelion.
Tiana Robinson is a Canadian artist, born in May Pen Jamaica, Her journey as an artist began at an early age, as she was always doodling in class, or at home. In middle school, she was nominated to participate in the Leaf Dreams scholarship program which gave her the opportunity to freely enroll in art classes at the Art Gallery of Ontario where she was constantly being exposed to instructors who were working artists themselves.
Tiana attended C.W. Jeffery’s Collegiate Institute special art program, and it was here that she was introduced to the Modern Batik Art Technique during a workshop. Batik Art involves the application of simple ink outlines, light-to-dark gradation of dyes, and using wax as a resist for separating colours. Tiana was a quick study and gained rapid recognition for her work, including her best-known image, “The Nation of Mothers”, which was purchased by the City of Toronto and now hangs in the Mayor’s office. Tiana graduated with a Bachelor of Design from the York-Sheridan Design Program and is currently working as a Graphic Designer while still exploring her love of art.
A Simpler Time was created using watercolour & gouache paint. This work was based on a poem I wrote called A Simpler Time. It shows a moment we have all experienced in our childhood of blowing a dandelion and watching the seeds scatter. It’s about returning to a time in our lives when we were free to have fun and just follow what felt right, what felt fun, and what made us happy. Summer days are filled with possibility and lots of sneezes.
What I am curious about right now is just exploring new media. I am trying to get reacquainted with my art process, and just let loose and explore what can come out of no expectations. I am working on being a bit more free with my expression and trying to find an authentic voice that is more representative of the woman I am now.
Tiana Robinson, wearing blue jeans and a grey t-shirt, is pictured inside the vitrine gallery installing her exhibition, A Simpler Time, hanging bright, colourful paintings done on paper onto clear string.
That was crayons, most definitely. Currently, I do mostly digital illustration and modern batik art with wax and dyes on fabric. I like the versatility of digital illustrations and the unique patterns created from the modern batik technique. Recently, I have been revisiting watercolours and gouache mediums and have been enjoying the learning curve of remembering how to work with the medium.
My daily ritual when arriving at the studio is to first put some sage into my little humidifier to set the mood, and set up any tools I need that day. I ask a quick question of where I should start today and flow with whatever my intuition tells me to go.
I look at images to gain some inspiration and when I feel that tingle of excitement I follow that thread to the next step. Sometimes I am guided by meditations or poems I have written before and recently I love to turn those poems or messages into a motivational video and utilise music and video to create inspiration for myself and others. I recommend this video to get you fired up.
Artist Tiana Robinson in her Akin Studio
I would love to go back and revisit the younger version of me before I stopped doing art and tell her that only when you are creating can you be fully you, fully grounded, fully really free. I realized after starting this journey again that It’s not losing my identity as an artist that made me fall apart. It was that I lost that ritual that allowed me to discard all the pieces of me that didn’t belong to me. All the external burdens and responsibilities that were not mine to begin with. I was no longer able to shed away that skin imposed on me by external circumstances, and sadly other people’s projections, demands, and responsibilities imposed on me slowly became my identity. I became empty while others became fuller, and paradoxically my spirit became heavier while others became lighter.
In 2020 I became paralyzed after getting sick with COVID, and spent the better part of 2021- 2022 just getting well again. I struggled a lot with my mental health, depression, and anxiety, and can say since getting and coming to the studio I am no longer depressed, my anxiety has reduced significantly and I am a lot happier and more peaceful than a year ago. More confident, even though I don’t know where I am going I just know I will be damned if I am going to stop this again. My new mantra for life now is “protect my peace”.
I am not very good at asking for help, and at showing my work. I want to be better at showing every facet of me and just being present and stop overthinking life.
A view of the finished install of Tiana Robinson’s exhibition, A Simpler Time. The paintings and poems are hung on clear string fastened vertically from top to bottom of the white vitrine gallery. The paintings are colourful, intricate images of flowers. On the white floor of the vitrine are paint brushes and small palettes, and a small sign that reads the “A Simpler Time, Tiana Robinson”
