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

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

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

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 "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.

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.

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/

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

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

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 "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.

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.