In this exhibition, the work functions as a distillation of a wider body of research. I use digital fabrication and 3D scanning as methods for archival investigation and the speculative reconstruction of objects. This collection brings together large scale sculptural elements with a new series of textile works that investigate the intersection of language and material. By sourcing imagery from Kurdish children books, the pieces act as a speculative archive of materials, turning instructional illustrations into tactile experiences. 

Central to this installation are the neon sculptural works, and the piece, ‘The sheep and chevrolet’. These pieces serve as a physical dialogue between traditional regional forms, pop culture, and contemporary manufactured reality. By focusing on the act of folding and deflating, I am looking at the physical limits of an object and its ability to occupy space. These works do not just sit in the gallery but interact with the architecture of the room. They ask how we carry our stories and what happens when those stories are translated into new, synthetic languages. 

Through the act of weaving and pressing, the exhibition explores how stories are carried and what remains when those stories are translated into new physical languages.

Opening Night: May 8, 2026
Exhibition Dates: May 8 - 30, 2026

After Hours draws from Adrienna Matzeg’s time spent in Kyoto, Tokyo, and Seoul during the height of summer. The afternoons were intensely hot and humid, so much of her exploration happened after dark. Her work draws from photos she took on late-night walks, when illumination transformed each city. Convenience store runs, snacks from night markets, and brief detours before returning to the hotel were moments of pause within the constant motion and unfamiliarity of being somewhere new. These places and objects became beacons within the dense urban environments and the relenting heat. In her work however, the energy of the city falls away. What remains are quiet scenes that left an imprint, tactile snapshots as a record of those summer nights.

Abbozzo Gallery and Adrienna Matzeg want to thank Superframe Toronto for their support in framing the artworks in this exhibition. 

Opening Night: May 8, 2026
Exhibition Dates: May 8 - 30, 2026

"The Outsiders": Luc Giard, Anick Langelier, Marc Leduc, Fruit Stains, Devon Marinac and James Kirkpatrick

Opening Reception Sat. May 30, 2 pm - 5 pm, refreshments served.

Exhibition on until June 27, 2026

Image: Anick Langelier, Edgar and the Cat. Acrylic on canvas. 24 in. x 36 in.

In partnership with the CONTACT Photography Festival, Olga Korper Gallery is pleased to present Close Encounter, an exhibition of over thirty photographs by Robert Mapplethorpe.

Featured image: Sybil Walker, 1979 Robert Mapplethorpe. Gelatin silver print, ed. of 10, 16” x 20”© Robert Mapplethorpe Foundation.

Newzones is pleased to present "Emily Filler: Deconstructed Bouquets", a solo exhibition and new body of work by the Canadian contemporary artist.

As with all her work, Emily Filler brings mixed media elements together to communicate a sense of joy – weaving painting, printmaking and photography together in her ‘painterly collages’. Flowers act as a departure point to a world that dissolves into abstraction, whereby creating a sense of the familiar, but also the feeling that one is falling into a dream. Filler’s artwork walks the line between the real and imaginary, not wishing to present the viewer with a realistic interpretation of flowers and bouquets, but rather to convey the beauty and the impressions which they leave behind in our memories.

For "Deconstructed Bouquets", Filler initially approached the new body of work thinking about how she could simplify. Of the exhibition she states:

"I have always admired artists with a minimalist aesthetic – Ellsworth Kelly, Etal Adnan, Barnett Newman, late Matisse. I think in some ways as an artist it’s very hard to escape yourself, your style, and so even though I love work like this I’ve made very little of it myself.

Before I started working on the show I was going on lots of long walks. I spent a lot of time walking around residential neighbourhoods in downtown Toronto. I started noticing all these brightly coloured accents everywhere. Houses, roads, cars, and even grass are usually fairly neutral colours, but then I would see a yellow watering can, a bright orange pylon, a blue tricycle on a lawn that would stand out in the neutral landscape.

It made me think about how you could collage bright, flat shapes into a neutral background and what an interesting effect that would have. The earlier pieces in this series have mostly grey backgrounds for this reason. Then I started looking at the work of Sterling Ruby. If I got stuck on a painting in the studio I would grab this book of his work that I have and say to myself out loud ‘What would Sterling Ruby do?’ This is when I got hooked on circles. Sterling Ruby did lots of collages with circles. It is strangely a shape I’ve never considered, but I really began to love.

As I was doing all of this I was also thinking about the nature of collage and how in addition to collaging together physical pieces of canvas or paper you could also in a more abstract way collage together ideas. I don’t know why this hadn’t occurred to me before. I save a lot of images on my phone. I have over 25000 images saved of random things like book covers, interiors, art, fashion shows, so many things. I started piecing together random ideas I’ve had for a long time. So for example one piece might have a reference to another artist I admire, a Prada runway show from 2009 and a garden hose I saw on someone’s lawn.

Then I started thinking about how each painting is a kind of visual diary of the things I saw around that time, things I noticed and admired. It made me wonder if a painting would be the same if I had worked on it on a different day at a different time. Or could this exact thing only be made at this exact time with these outside factors – Who did I talk to that day? Was I in a good mood? What did I see when I was looking around?

I suppose I’ll never know. What I do know is that working this way was very freeing and exciting. I think when you are a visual artist and you are recognized for certain bodies of work you have made in the past you don’t realize how much that dictates the work you make. When I tried to remove all of that (which you can’t ever entirely do, but still) it allowed anything and everything to be an option which made these works an exciting adventure for me.

What I hope to convey with these pieces is a sense of joy, freedom, a bit more simplicity, and express to the viewer (even if a little mysteriously) who I am and what excites me in this moment in time."

Emily Filler received her BFA Honours from Queen’s University in Kingston, Ontario. Her work has been exhibited across North America and can be found in private and corporate collections world-wide.

Newzones is thrilled to announce the fourth edition of the invitational exhibition, FreshFaces.

FreshFaces is a curated exhibit which brings together select Canadian artists for a one-time group showing, continuing Newzones’ commitment to introducing significant contemporary art practices to its audiences. Through distinct material languages and conceptual frameworks, the artists in this exhibition expand conversations about home, shelter, land, memory, care and perception – offering a survey of art practices that are both intimate and expansive.

FreshFaces will demonstrate how, for these artists, place is a lived experience – it’s psychological, historical, familial, and embodied. Domestic structures shimmer in stark environments. Cultural identities and narratives are explored through Indigenous artistic processes. Landscapes repeat and fragment, challenging our perceptions. Moments and places are converted to a language of colour and texture. Concepts of house and home are dissected. The connections and perceptions of place result in a stimulating and fresh view of “New to Newzones” and “New to Calgary” talent.

Newzones is thrilled to include and introduce Shawn Evans, Will Gill, Takashi Hilferink, Karine Léger, and Michelle Sound as part of our fourth iteration.

John David Anderson is on display Thursday May 7th to Saturday May 23rd.

Opening Reception Saturday May 9th from 1 – 4pm

Artist in attendance during the Opening Reception. https://www.robertsgallery.net/exhibition/john-david-anderson-2/

Come view an incredible selection of paintings from Norval Morrisseau from 1975 to 1985. All artworks have been authenticated by the foremost expert on Norval Morrisseau art, John Zemanovich, Art Experts Canada Inc.

Exhibition catalogue available at the gallery (830 St. Clair Ave. W., Toronto.).

Exhibition dates: Saturday April 18, 2026 to Saturday, May 23, 2026.

Image Details: Norval Morrisseau, Two Shamans, c. 1979 67.5 x 50 cm

Oeno Gallery invites you to experience this evocative collection of new paintings created exclusively for this solo exhibition. For decades, the timeless and vividly colourful work of Jennifer Hornyak has been widely collected around the world. Acclaimed for her intuitive use of rich colour, gestural form, and visceral texture, her ‘flowerscapes’ and figurative compositions echo the European masters she once studied. Yet, Jennifer Hornyak's singular vision ultimately transcends tradition, blurring the line between abstraction and figuration.

Opening Reception: Saturday, May 16th from 2-5 pm artist in attendance

Fazakas Gallery is pleased to present Re-counting Coup, the first solo exhibition in British Columbia by Matthew Provost Naatsikapamatoosin (Two Smudge), an artist from the Piikani and Kainai Nations (Southern Alberta), part of the Siksikaitsitapi (Blackfoot Confederacy). Two Smudge’s practice explores how Siksikaitsitapi knowledge systems persist and adapt within contemporary contexts. Working across painting, material interventions, installation, and hanging mobile sculpture, he engages histories of mark-making, land, and value to consider how cultural knowledge is carried forward.

The exhibition’s title draws on the Blackfoot practice of counting coup, a Plains Indigenous tradition in which warriors demonstrated bravery through close physical proximity to an opponent—touching rather than killing. Emphasizing risk, precision, and restraint, the act held deep social and cultural significance.

Read more: https://fazakasgallery.com/exhibitions/60-matthew-provost-naatsikapamatoosin-two-smudge-re-counting-coup-fazakas-gallery-vancouver-bc/

Image details: Matthew Provost Naatsikapamatoosin (Two Smudge), My home takes care of me., 2026. Acrylic paint, 24 x 30 inches.

Oeno Gallery welcomes you to ‘Breathe’ - a curated group show of fine artists whose work invites you to pause, exhale, and experience a moment of stillness.

The restrained brushwork, the subdued palettes and the hand crafted nature of this collection of paintings, sculptures, ceramics and fibre art encourage reflection. Explore this perspective through the works of: Karen Bagayawa, Susan Collett, Dan Hughes, Benny Katz, Chung-Im Kim, Claudia McCabe, Paula Murray, Milly Ristvedt, Sasha Rogers, Pat Service, Carol Sutton and Richard Tosczak.

Website: http://oenogallery.com/exhibitions/breathing-spaces/

Opening Reception: Saturday, March 28 from 2-4 pm
Exhibition Dates: March 28, 2026 - May 10, 2026

John David Anderson is on display Thursday May 7th to Saturday May 23rd.

Opening Reception Saturday May 9th from 1 – 4pm

Artist in attendance during the Opening Reception. https://www.robertsgallery.net/exhibition/john-david-anderson-2/

In this exhibition, the work functions as a distillation of a wider body of research. I use digital fabrication and 3D scanning as methods for archival investigation and the speculative reconstruction of objects. This collection brings together large scale sculptural elements with a new series of textile works that investigate the intersection of language and material. By sourcing imagery from Kurdish children books, the pieces act as a speculative archive of materials, turning instructional illustrations into tactile experiences. 

Central to this installation are the neon sculptural works, and the piece, ‘The sheep and chevrolet’. These pieces serve as a physical dialogue between traditional regional forms, pop culture, and contemporary manufactured reality. By focusing on the act of folding and deflating, I am looking at the physical limits of an object and its ability to occupy space. These works do not just sit in the gallery but interact with the architecture of the room. They ask how we carry our stories and what happens when those stories are translated into new, synthetic languages. 

Through the act of weaving and pressing, the exhibition explores how stories are carried and what remains when those stories are translated into new physical languages.

Opening Night: May 8, 2026
Exhibition Dates: May 8 - 30, 2026

After Hours draws from Adrienna Matzeg’s time spent in Kyoto, Tokyo, and Seoul during the height of summer. The afternoons were intensely hot and humid, so much of her exploration happened after dark. Her work draws from photos she took on late-night walks, when illumination transformed each city. Convenience store runs, snacks from night markets, and brief detours before returning to the hotel were moments of pause within the constant motion and unfamiliarity of being somewhere new. These places and objects became beacons within the dense urban environments and the relenting heat. In her work however, the energy of the city falls away. What remains are quiet scenes that left an imprint, tactile snapshots as a record of those summer nights.

Abbozzo Gallery and Adrienna Matzeg want to thank Superframe Toronto for their support in framing the artworks in this exhibition. 

Opening Night: May 8, 2026
Exhibition Dates: May 8 - 30, 2026

Join us at Oeno Gallery for a special artist talk with renowned Canadian painter Pat Service on Saturday, May 2 at 3 PM.

Based in British Columbia and rarely in Prince Edward County, this is a unique opportunity to hear Pat Service reflect on her decades-long career and the evolution of her practice, from traditional landscapes to the expressive, abstracted works she is known for today. She will also discuss her Still Lake series, created during the influential Emma Lake Professional Artist Workshops and currently featured in our exhibition Breathe.

http://oenogallery.com/news/upcoming-artist-talk-with-pat-service-saturday-may-2nd-at-3-pm/

In partnership with the CONTACT Photography Festival, Olga Korper Gallery is pleased to present Close Encounter, an exhibition of over thirty photographs by Robert Mapplethorpe.

Featured image: Sybil Walker, 1979 Robert Mapplethorpe. Gelatin silver print, ed. of 10, 16” x 20”© Robert Mapplethorpe Foundation.

On Saturday, May 2nd, Mira Godard Gallery is pleased to open a 100th Birthday Exhibition of paintings and works on paper by Takao Tanabe. Mira Godard Gallery has been representing Takao Tanabe's work for 65 years and the relationship continues to this day.

The current exhibition includes paintings and works on paper, many of them directly from Tanabe's studio. TAKAO TANABE, an important figure in Canadian painting and printmaking for almost 80 years, was born in Prince Rupert, British Columbia in 1926. Takao Tanabc studied in Canada. Europc, the United States and Japan. Following a decade as head of the art program and artist-in-residence at the Banff Centre, he returned to British Columbia in 1980 where he lives and works.

Website: www.godardgallery.com.
Exhibition Dates: May 2, 2026 - June 27, 2026

Image: TAKAO TANABE, “South Moresby 2/86: Kunghit Island”, 1986, acrylic on canvas, 42 x 84 in.

Newzones is pleased to present "Emily Filler: Deconstructed Bouquets", a solo exhibition and new body of work by the Canadian contemporary artist.

As with all her work, Emily Filler brings mixed media elements together to communicate a sense of joy – weaving painting, printmaking and photography together in her ‘painterly collages’. Flowers act as a departure point to a world that dissolves into abstraction, whereby creating a sense of the familiar, but also the feeling that one is falling into a dream. Filler’s artwork walks the line between the real and imaginary, not wishing to present the viewer with a realistic interpretation of flowers and bouquets, but rather to convey the beauty and the impressions which they leave behind in our memories.

For "Deconstructed Bouquets", Filler initially approached the new body of work thinking about how she could simplify. Of the exhibition she states:

"I have always admired artists with a minimalist aesthetic – Ellsworth Kelly, Etal Adnan, Barnett Newman, late Matisse. I think in some ways as an artist it’s very hard to escape yourself, your style, and so even though I love work like this I’ve made very little of it myself.

Before I started working on the show I was going on lots of long walks. I spent a lot of time walking around residential neighbourhoods in downtown Toronto. I started noticing all these brightly coloured accents everywhere. Houses, roads, cars, and even grass are usually fairly neutral colours, but then I would see a yellow watering can, a bright orange pylon, a blue tricycle on a lawn that would stand out in the neutral landscape.

It made me think about how you could collage bright, flat shapes into a neutral background and what an interesting effect that would have. The earlier pieces in this series have mostly grey backgrounds for this reason. Then I started looking at the work of Sterling Ruby. If I got stuck on a painting in the studio I would grab this book of his work that I have and say to myself out loud ‘What would Sterling Ruby do?’ This is when I got hooked on circles. Sterling Ruby did lots of collages with circles. It is strangely a shape I’ve never considered, but I really began to love.

As I was doing all of this I was also thinking about the nature of collage and how in addition to collaging together physical pieces of canvas or paper you could also in a more abstract way collage together ideas. I don’t know why this hadn’t occurred to me before. I save a lot of images on my phone. I have over 25000 images saved of random things like book covers, interiors, art, fashion shows, so many things. I started piecing together random ideas I’ve had for a long time. So for example one piece might have a reference to another artist I admire, a Prada runway show from 2009 and a garden hose I saw on someone’s lawn.

Then I started thinking about how each painting is a kind of visual diary of the things I saw around that time, things I noticed and admired. It made me wonder if a painting would be the same if I had worked on it on a different day at a different time. Or could this exact thing only be made at this exact time with these outside factors – Who did I talk to that day? Was I in a good mood? What did I see when I was looking around?

I suppose I’ll never know. What I do know is that working this way was very freeing and exciting. I think when you are a visual artist and you are recognized for certain bodies of work you have made in the past you don’t realize how much that dictates the work you make. When I tried to remove all of that (which you can’t ever entirely do, but still) it allowed anything and everything to be an option which made these works an exciting adventure for me.

What I hope to convey with these pieces is a sense of joy, freedom, a bit more simplicity, and express to the viewer (even if a little mysteriously) who I am and what excites me in this moment in time."

Emily Filler received her BFA Honours from Queen’s University in Kingston, Ontario. Her work has been exhibited across North America and can be found in private and corporate collections world-wide.

Newzones is thrilled to announce the fourth edition of the invitational exhibition, FreshFaces.

FreshFaces is a curated exhibit which brings together select Canadian artists for a one-time group showing, continuing Newzones’ commitment to introducing significant contemporary art practices to its audiences. Through distinct material languages and conceptual frameworks, the artists in this exhibition expand conversations about home, shelter, land, memory, care and perception – offering a survey of art practices that are both intimate and expansive.

FreshFaces will demonstrate how, for these artists, place is a lived experience – it’s psychological, historical, familial, and embodied. Domestic structures shimmer in stark environments. Cultural identities and narratives are explored through Indigenous artistic processes. Landscapes repeat and fragment, challenging our perceptions. Moments and places are converted to a language of colour and texture. Concepts of house and home are dissected. The connections and perceptions of place result in a stimulating and fresh view of “New to Newzones” and “New to Calgary” talent.

Newzones is thrilled to include and introduce Shawn Evans, Will Gill, Takashi Hilferink, Karine Léger, and Michelle Sound as part of our fourth iteration.

Newzones is pleased to present Deconstructed Bouquets, a solo exhibition and new body of work by Canadian contemporary artist, Emily Filler.

As with all her work, Emily Filler brings mixed media elements together to communicate a sense of joy – weaving painting, printmaking and photography together in her ‘painterly collages’. Flowers act as a departure point to a world that dissolves into abstraction, whereby creating a sense of the familiar, but also the feeling that one is falling into a dream. Filler’s artwork walks the line between the real and imaginary, not wishing to present the viewer with a realistic interpretation of flowers and bouquets, but rather to convey the beauty and the impressions which they leave behind in our memories.

For Deconstructed Bouquets, Filler initially approached the new body of work thinking about how she could simplify

Website: https://newzones.com/blog/2026/01/08/emily-filler-deconstructed-bouquets-2026/

March 28 – April 25, 2026

Opening reception on Saturday March 28, from 2 – 5 pm

To enter Vickie Vainionpää’s Tempest is to find it already surging towards you: a line accelerating, doubling back, thinning to a filament and then flooding. Colour arrives in surges of ochre and rust. Blue cuts cold through hazes of white. Forms writhe and knot, swell with volume before tapering to nothing. Each form pulls against the others, crossing where they meet.

Vainionpää’s compositions begin in virtual reality, the body moving through three- dimensional space, drawing in air. From there the work passes through layers of digital texturing and filtering before arriving as pastel and oil on canvas. What appears untamed, its storm-like momentum, is meticulously orchestrated. Lines multiply, colours flare and fracture, forms swell and taper. These movements belong to the same systems whose accelerating momentum the paintings register. The forces these works hold are not something observed from afar; they form the atmosphere through which their marks move and take shape.

Image: Installation View of Tempest. Courtesy of LFDocumention

Come view an incredible selection of paintings from Norval Morrisseau from 1975 to 1985. All artworks have been authenticated by the foremost expert on Norval Morrisseau art, John Zemanovich, Art Experts Canada Inc.

Exhibition catalogue available at the gallery (830 St. Clair Ave. W., Toronto.).

Exhibition dates: Saturday April 18, 2026 to Saturday, May 23, 2026.

Image Details: Norval Morrisseau, Two Shamans, c. 1979 67.5 x 50 cm

Join Slate Fine Art Gallery for the closing of their Waiting for the Sky exhibition with artists Diana Thornycroft and Sylvia Zieman.

Join Gallery Jones for an artist talk with Fei Disbrow in conversation with Pennylane Shen.

Quietly Palpable is a featured exhibition of the Capture Photography Festival.

“In Fei Disbrow’s artistic practice, the materials used are in support of the exploration of texture and shape. The artist’s rigorous composition is the syntax by which this relationship is expressed. Previously, Disbrow has used fabrics such as cotton, wool, felt, and mylar to add dimensionality to two-dimensional work. Some of the fabrics evoke a subtle symbolism, such as Oxford cotton, or present an incongruent relationship, such as Tyvek stitched over linen, but the considered and meaningful placement of form, colour, and line is the connective tissue that unifies the object.” - Curatorial Statement via Shane O’Brien

Image: Fei Disbrow, “Crept”, UV sublimation print on aluminum, 30 × 11 × 2 inches.

Join James Rottman Fine Art for their opening of Soheyl Bastami/Jessica Levman : PRESENCE AND ABSENCE.

Between presence and absence, the body transforms. This fragmentation is not an end, but a revelation of the forces that shape us. As parts pull away, they do not lose their connection; instead, they are redefined by the distance, held together by an invisible thread.

Opening Reception:  Saturday March 14, 2026 from 2 pm - 5 pm, with sculptor Soheyl Bastami in attendance. 

Exhibition dates: March 14 - April 11, 2026

Website: https://www.jamesrottmanfineart.com/jessica-levman/

With the flowers in bloom, and the weather (hopefully) warming up, we hope you will join us for the Opening Reception of The Wanderer and Souvenirs de passages, solo exhibitions by Vanessa McKernan and Marie Rioux, respectively.

Souvenirs de passages (Memories of passages) harmonizes three constellations of Rioux's work: night scenes, northern impressions, and evolving artistic practices. Across them, Rioux follows lone figures adrift in landscapes that soften and turn inward, becoming sites of quiet reflection. As a result, the paintings linger in states of passage. Memories surface and recede, light shifts, and forms dissolve into one another. What remains is a space where memory is layered and ever-evolving. 

The Wanderer unfolds through an ongoing shift in place and practice, following the artist's move from Toronto to Ottawa Valley, where daily life, gardening, and painting now exist in close proximity. McKernan's paintings move between lived experience and interior reflection. The Wanderer explores figures that drift through landscape and psyche, at times passive, at others searching. Together, the works reflect an exploration of wandering, through place, through the mind, and through the unfolding nature of the creative process itself.

http://abbozzogallery.com/exhibitions

Lead Image: Marie Rioux, Vol de nuit (Night flight) No. 2, 2026, Mixte on canvas, 24 x 24 in

Join the gallery for their latest exhibition “Spring Tides” a group show featuring the galleries artists.

Image: David Garneau, Man, the Measure(r). Acrylic on panel, 16 x 20 in.