"Eyes and Teeth" is a collection of my favourite expressions that I've drawn over the course of my career. Although skin tone, hairstyle, nose, and face shape may differ radically, for me eyes and teeth stay the same.
Upcoming exhibition info coming soon!
October – Janine Carrington
November – Downtown Critters
December – Romy Block
January – Kyle Yip
February – Alexandria McDonough & Jacqueline Valencia
March – Vicky Vyas
April – Wendy Whaley
May – Alea Drain
June – Group Exhibition organized by Alison Conway
July – John Kuna
August – Angela O'Hara
I was always fascinated with time passing by. Things changing never to be repeated. Constant movement. Day, night, sun, water, wind, cold, warm. All of these elements are woven together with every thread.
Good, wrong, sound, silence. A symphony of events, a river of fluxes and influxes, lasting for short flashes. Time is movement.
This artwork is an attempt to symbolise this thought process. Now, you read it, let’s move onto the next split second.
- Janusz Bartul
These canvases are a continuation of a theme started in months of lockdown. During the first pandemic winter me and a number of artists in the Artscape Bayside community contributed to a group show centred on the theme of ‘regeneration’. This idea was first hatched in a Zoom meeting and I was immediately taken with it. I forget who came up with it, so apologies and thanks there.
I hadn’t been painting for months. Normally I access a friend’s studio but going there was out of the question. So I set up a music stand for an easel, broke out all colours and worked appropriately small - acrylic on 18” square panels - right through the Delta variant winter.
In days at a time, but getting up in the morning to riff out in the key of “regeneration” sustained me. And it furthered my practice.
In a studio again, being able to paint to desired scale, I’m much less deliberative and less hesitant. I got used to the speed of working small. Then there are inevitable life issues and a new urgency. These works came fast. I’m also far from finished working through this fire starter theme of “regeneration”.
SOM Sound of Movement Artists:
Musician: Michael Menegon
Dancer: Jocelyn Mah
Dancer: Ellen Moore
Musician: Nilan Perera
Visual Art embodies communicative vibrations. SOM puts the paintings and sculpture of Deborah Torr into sound and movement.
Live shows every Thursday and Friday in July. 9pm. (Excluding Friday July 21st)
For full schedule and more info visit:
The Toronto I know and love is quickly disappearing. I’m showing five rugs of places that are (or were) important to me. I have italicized the names of my rugs.
I like the way Toronto used to be circa 1975. I moved to Toronto from a small town in Northern Ontario and fell in love with the quiet, tree lined streets of Victorian houses. I hooked The Yellow Fence to commemorate Toronto’s distinctive bay ‘n’ gable houses.
My rug, Kensington Market is about how exotic the market seemed to me. There used to be live chickens and at Easter time, metal tubs of eels swimming about. I lived on Kensington Avenue in 1974.
I went to the Ontario College of Art which has undergone big changes but there are a few houses across from the Art Gallery of Ontario that are still the same. The street cars have been going by those houses for a long time. (Across from the AGO)
The El Mocambo is legendary for live music. I went there as a student. I didn’t see the Rolling Stones but I wish I had.
As for Honest Eds, it was retail therapy before the term was coined. I bought SX70 film, Kodachrome film and other necessities like toothpaste, there. I once lined up for a gallon of white paint for 99 cents. I am also fond of Toronto streetcars and that strong true red.
When I hook a rug, I start with a photograph that I have taken myself. Sometimes it’s a photo I took quite a while ago. I like to rescue wool from thrift shops. I de-construct a lot of old garments that otherwise would end up as landfill. Some wool, I use as is. Most I over-dye. Sometimes I buy a piece of new wool that I dye. The wool is yardage that is cut into strips, rather than yarn.
I like the feel of wool, especially on a cold winter’s day. It’s warm and fuzzy and comforting.
If you would like to see more of my work, I have a Facebook page called Trish Johnson Amazing Textile Art. It’s not just my work but includes the work of other artists that I admire.
You can follow me on Instagram; trshjhnsn (my name without the vowels). My email is email@example.com
I began to play with impressionist photography during the pandemic when it seemed like life had been turned upside down, shaken and blurred. I loved the washes of colour and soft shapes and blurs that using the camera differently could create. It was also nice to forget about rules and being a technician in favour of trying to be a bit of a poet or painter.
I wanted to try to create images that were about something rather than of something.
In the words of the wonderful photographer Minor White, “one should not only photograph things for what they are … but for what else they are.”
ABOUT THE ARTIST
Ann Fischer is a writer and a photographer focusing on subjects that are soft, unveiled and often tender. Her stories have been included in several anthologies and published in literary magazines, both in print and on line. Her photographs have been published most recently in Burningword Literary Journal and exhibited in various Ontario galleries from time to time.
Pandemic days were punctuated with walking the neighbourhood, alone or with kids and neighbours. Pandemic nights were spent drawing as if it would help me draw air, as if it would draw me closer to all the things I longed for.My practice and interests revolves around themes of cyclicality, freedom and the land in an urban context. I’ve Missed You brings together much of the digital work I created during that time (as prints) and some more recent originals I’ve been stretching into this Winter. It’s a collection of works that asks: What do we do with all the longing? For the sensation of coming home to our true selves, for the union with loved ones and the Creator and for the truth of what this land was before colonization and what it might one day be.
Esther Maloney (she/her) is a Toronto-based multidisciplinary artist, educator and Mama. Esther’s visual art was featured in the Bayside Gallery’s Regeneration exhibit in Spring of 2021. Esther is founding director of Illumine Media, a community-based youth film initiative and the Creative Sovereignty Lab, a mentorship initiative supporting Indigenous filmmakers. Her animated short film Another World(2020), supported by the Canada Council for the Arts, is gaining laurels at international film festivals. Esther's written work includes the children’s bookThe Lovebird’s Freedom (Plant, Love, Grow, 2018), articles published for the Toronto Star and Globe and Mail. Esther's published academic work focused on youth and storytelling is based on her MA research at OISE/University of Toronto. She has presented on a number of panels, including speaking at the United NationsCommission on the Status of Women in 2018. She teaches at the University of Toronto, Humber College, and through large-format programs offered through Carmel Futures. Join her newsletter at www.carmelfutures.com
The February 2023 exhibition featured at Bayside Gallery is an exploration of the woodblocks used in printmaking. The works in this exhibition explore the method and process of working with woodblocks using a range of different methods and processes to play with and highlight the idea of the woodblock as both form and function. “Symbiosis” (black and white print) is a single cut relief print where a woodblock is carved and printed. “Symbiosis II” includes an additive method of using additional woodblocks to form a background landscape. “Carnage of Poms” (colourful triptych) uses a woodblock reduction process where a single block is carved and printed and then the same block is carved and printed again revealing the previous print. The sculptural work “Choice Spinner” incorporates the woodblock as both a printed and sculptural element. The inside drum is a carved woodblock that was once printed for the background prints of “User's Guide to the Choice Spinner.” Through these works, woodblocks are explored as a method of creation and as well as a sculptural product, highlighting the breadth of the artmaking process.
Jacquelin Heichert is a Toronto based artist specializing in print media, book works and sculpture. Heichert holds a BFA from York University and a MFA from Concordia University. Her exhibition history includes solo exhibitions at Modern Fuel (Kingston), La Centrale Galerie Powerhouse (Montreal, QC), Gales Gallery (Toronto, ON), Latcham Art Centre (Stouffville, ON) and Atelier Circulaire (Montréal, QC). Group exhibitions include Eyelevel Gallery (Halifax, NS), Centre D’Exposition de Val-David (Val-David, QC), Cambridge Galleries (Cambridge, ON), Canadian Sculpture Centre (Toronto, ON), École des beaux-arts (Montreal, QC) and Kyoto International Woodprint Association (Japan). Heichert has attended several national and international artist residencies and received numerous awards including Spark Box Studio Emerging Artist Residency Award (Picton, ON), the Vermont Studio Center Residency (United States) and the Frans Masereel Centrum Printmaking Residency (Belgium) and has received the Social Sciences and Humanities Research Council of Canada Grant for her Master’s Degree research.
Throughout the month of January, 7 local artists will be working inside the Bayside Gallery to create new, site-specific, durational performances, while showcasing their creative process to the public.
By using a public-facing gallery space, Creative Process seeks to highlight the often invisible process work of performance artists (without the filter of social media) as well as the lack of available, affordable space to create, while also offering an incubating opportunity in a unique setting.
Final/in progress works will be presented on Sunday January 29th and Monday January 30th, times TBD. (check back here or on our website/socials for updates).
The exhibit is curated by Kirsten Edwards and Emily Hughes of Hercinia Arts Collective, a non-profit collective creating and curating contemporary circus and multidisciplinary performance since 2009.
Jacqueline Valencia (she/they) is a Toronto-based poet, writer, DJ, and film
critic who paints. Her literary and artistic themes include (but are not limited to): conceptual experimentation, grief, motherhood, the body electric in space, and decolonization.
Erin McCann is a multi-hyphenate creative producer and director based out of Hamilton, ON. Erin is known for her film and creative director roles, she has returned to her roots in the fine arts, where she’s exploring the mediums of ink and resin.
Charles, Malene is an interdisciplinary artist & digital designer / developer based out of Toronto, ON. While Charles, Malene has previously exhibited her video & photography work, this is her first painting installation.
David J. Fulde likes to think that every piece of media he makes is a self portrait, whether he is actually in it or not. Through his work he loves to show off his own queerness, love of colour, and love of people by allowing them to be their authentic self.
While David is not physically in any of these prints, he hopes that just by seeing these 'self portraits' you get to know him a little - and he's so happy to meet you.
We live next to the concrete edge of the soft waves of Lake Ontario. Shaded under rigid umbrellas among the weeping willows. The birds fly by the steel beams of construction. These soft renderings of hard surfaces are dedicated to the urban window gazers and to this neighbourhood, a place of extreme growth and extreme contrast that I am steadily growing to appreciate.
Dusk (City Dwellers), 2021
Embroidery on burlap
Sunset (wall view), 2021
Embroidery on burlap
Sugar Beach, 2022
Embroidery on Monk’s cloth
Marooned (apartment view), 2022
Embroidery on Monk’s cloth
I’m ever conscious of the stream of waste that comes from an active art practice. I like to utilize materials that are at hand, discarded or reusable. The tent in this image was created with fabric and rope left over from some of my grandfather's farm projects. The original image was installed as a massive billboard many years ago just down the street at Harbourfront Centre. When the exhibition ended I salvaged the vinyl, tarp-like print with plans to use it over again.
Find out more at darrenrigo.com
Art is how I play, create, reinforce and test perception. I am a Bayside community painter engaged with my surroundings. These paintings are explorations of the sights and sounds of my home and I see them as vestiges of the experience.
Lake Opeongo is a combination of two stylistic renders of a small island in Algonquin Park. It is the place of my conception.
Little tikes pop-up experience is a car market for children.
Merchants’ Wharf is a gamification of this street with candy rewards.
Sticky Maple is a convergence of a maple leaf and a muddy day.
Michael Freeman Badour (b. 1987)
I received my BFA from OCAD University in 2014. My work has been presented in solo exhibitions at Pumice Raft, Toronto; SIBLING, Toronto; The Loon, Toronto; and Roberta Pelan, Toronto. I have participated in two person and group exhibitions at Little Sister Gallery, Toronto; Topless Rockaway, New York; The National Gallery of Canada, Ottawa; PUDDLING, Rural Ontario; 304 Albany Ave, Toronto; and CK2 Gallery, New York. I was a finalist in the 2017 RBC Canadian Painting Competition and was the recipient of the 2014 Drawing and Painting award from OCAD University.
Lake Opeongo - Oil on canvas - 21” x 30”- 2022
Little tikes pop-up experience - Oil on linen - 42” x 60” - 2021
Merchants’ Wharf - Oil on canvas - 42” x 60” - 2022
Sticky Maple - Oil on linen - 21” x 30”- 2022
This exhibit honours Queen Nanny, an 18th-century leader of the Jamaican Maroons. She led a community of formerly enslaved Africans called the Windward Maroons. Queen Nanny was born in what is today Ghana of the Ashanti people. The Windward Maroons fought a guerrilla war over many years against British authorities in the Colony of Jamaica. According to Maroon oral history, Nanny's success in defending the people against overwhelming British forces was often attributed to her mysterious supernatural powers. The government of Jamaica declared Queen Nanny a National Hero in 1975 and declared her as their only female national hero celebrating her success as a leader, military tactician and strategist. She was a symbol of unity and strength for the people during times of crisis.
Queen Nanny was known as the wise woman of the village, who passed down legends and encouraged the continuation of customs, music and songs that had been handed down from the people from Africa, which instilled in them confidence and pride.
It is her determination and strength that has paved the way for the freedom of many Jamaicans. We honour her journey with this exhibit highlighting the space she created for freedom, unity and creative rebellion.
We provide a moment for children and adults to reflect on this BLACK-LIGHT exhibit. We hope that parents will be inspired to discuss the concept of what is yours cannot be taken, stolen, sold or given away. The light within you is always there waiting for you to tap in, to access it and project it into the world. Be the light.
This exhibit uses sacred geometry as a form of storytelling, each holding a specific power and message. For the meaning of each symbol please visit www.evdesign.ca.
In the new age of racial violence this exhibit is a reminder of the power of creative rebellion through the arts and the impact of supporting youth in finding their voice.
Yvonne Stanley is a Jamaican Canadian Afro Caribbean focused on empowering and supporting her community through art, activism and mindfulness teachings. She is a full-time internationally published photographer based in Toronto. Her professional work varies greatly and can be viewed online at www.evdesign.ca.
Stanley's focus beyond the camera moves to hands-on humanitarian work and activism to support local and international communities. Yvonne works with a collective RTBR (We Have The Right To Be Right), a dedicated group of BIPOC creatives in various fields that volunteer to support communities and individuals in need. Most recently the team supported Syesha Mercado a mother in Florida standing against a corrupt system within the Child Protective Services. The group also worked to support those affected by Hurricane Dorian in the Grand Bahamas and Abaco. The team worked with the Haitian ambassador and supporters in Toronto and Miami to supply aid and hands-on service on the ground.
For more information on RTBR and their history of support visit www.rtbr.ca
The team "We have the right to be right" which began from an unfortunate incident in California, turned into a movement. From international award-winning short films, humanitarian aid, community support and creative projects to inspire empowerment, equality and upliftment of the BIPOC community the group actively comes together to make great change.
This collection of quilts is created to honour our human need for warmth and comfort. Each piece is likened to an Advection fog that occurs when warm air moves over a colder surface.
Quilt-making requires patience, creativity, and a love for tradition. It is an experience that becomes so enjoyable that during the long hours of meditative sewing nothing else seems to matter and one can become overtaken by the sheer joyful flow of creating with one’s hands. Each quilt is unique and made without a preconceived idea. Each is custom designed with fine silks and found fabrics taking centre stage. The fabrics create a visual language, they become symbols, memorials, reflections, and provide physical and emotional warmth.
The spirit of quilt-making is to work generously and trust that the patterns become like patterns in our growth. We don’t know how the pattern will come out, but we hope it will look beautiful in the end.
I’ve always made art, but only in the last decade have I begun a dedicated painting practice. For years I filled sketchbooks that I carried everywhere with rapid sketches done with an ink brush. These black and white explorations were made without an intention of a larger context. I did these all the time. I still do. Gradually, a visual language emerged that felt true.
I decided to try it on canvas, in colour and on a large scale. At first I worked intuitively. I had no idea where the work would end up. More recently I began embracing themes, and sometimes subjects.
Working with intention felt liberating. (Context and parameters are a creative springboard rather than a limit.)
I never aim for a mood.
Music, the natural world, urgent issues and outrages, global visual culture, beloved painters, and my travel experiences are my strongest influences.
I work in various sizes. These are some of my biggest works to date.
See more work at
Karn Goode is a Canadian fashion designer and illustrator that has been working in the industry for over 20 years. Karn's approach to design has always started from illustrations. Throughout the years, ink and pencil drawings were the main forms of getting her ideas down on paper.However, her favourite media today is conte' crayon.
Karn has kept her illustrations between family and friends. Thousands of drawings later, she has decided to show them to the public. This is her second exhibition to date.
The drawings serve as the designs for her collections. About 100 small A4 graphite drawings are made each season and then curated into the collection. Approximately 40 final drawings make it as garments in each collection.
On her first exhibit for Nuit Blanche in 2019, Karn wrote, “The art of it all excites me beyond borders. I hope this will be the start for many exhibitions to come.”
Contact & Product
Upcoming exhibition info coming soon!
This Mother-Son exhibition combines the portraiture of Syrus Marcus Ware and the botanical paintings of Susan Irons-Ware. Flowers for Activists imagines a world where life is cherished and cared for- where both change makers and life in the natural world was protected and considered inherently valuable. Both Susan and Syrus have spent their lives in observation of the natural world and human systems- and both have explored their curiosity through visual medium- drawing and painting.
Toni Cade Bambara once said that the role of the artist was to make the revolution irresistible- and this show helps to do just that- imagining a world full of care and flowers for activists, flourishing in a climate cooled world.
For more information visit:
This series of family portraits juxtapose stoic, hardened, or somber expressions and posed, tight body language with bright and playful colours and relaxed brushwork. These choices are meant to highlight the complexity of existing within the Black family. These are extrospective nuanced paintings that discuss the experience of being part of a family that battles issues of addiction, poverty, internalized racism, pride and ego while attempting to create a family filled with love and value. How can we properly love and value each other when we struggle to love and value our individual selves?
Natia Lemay is a mixed-race Toronto-based artist of Black, French and Indigenous descent. Working as a conceptual artist and figurative painter, she explores decolonization, identity, systemic erasure, and white supremacy by focusing on the sociological impact of capitalism, myth, stereotyping, systemic, socialized, and internalized racism on the BIPOC identity. Through allegorical works, she looks to contribute and encourage social change.
Natia is completing her Masters of Painting and Printmaking at Yale School of Art and has a BFA from OCAD University with a Social Sciences minor. She has participated in masterclasses with Mickalene Thomas, Ebony Haynes, and Manuel Mathieu. Natia has curated over 7 shows with OCAD U's Ada Slaight Chair and completed multiple workshops for curating in digital spaces at OCAD U. She has sat on OCAD U faculty of art hiring committee, participated in an OCADU working group combating sexual and gender-based violence, supported the hiring of a black and indigenous student councillor at OCADU health and wellness department, winner of the 2001 David W Bain Graduate Award and 2020 Diversity & Equity Excellence Award at OCADU.
I Think In Black provides an introspective glimpse into the diversity of the Black Bayside Community.
An impromptu group exhibition with work from artists living at Bayside Lofts to kick off our new window gallery.
Exhibitions viewable 24/7 at:
30 Merchants' Wharf, Toronto, ON, M5A0L2
Show with us!
New this year: any creatives that reside or work in the Bayside neighbourhood are welcome to apply. We will however prioritize some spaces for Artscape Bayside residents, especially those who have not shown with us before.
Submissions are open, but will not be reviewed until we have determined our 2024 review date.
Bayside Gallery is an artist-run space collectively funded and run by volunteers from the Artscape Bayside Lofts community. The painters, writers, musicians, designers, photographers, illustrators, and other creatives living at 30 Merchants’ Wharf are committed to building a community that engages art, culture and creativity as catalysts for vibrancy, sustainability, prosperity and inclusiveness. Residents at 30 Merchants’ Wharf are a diverse group from many fields and cultural backgrounds and are delighted to contribute to creative placemaking in this beautiful and rapidly growing neighbourhood.
The gallery is currently run by Alea Drain, Alison Conway, Rea Kelly, Darren Rigo, and Jim Taylor.
If you are interested in helping us run the gallery, get in touch! firstname.lastname@example.org
Bayside Lofts was developed by Artscape to empower talented artists and connect them to each other and the local community. Artscape is a not-for-profit organization based in Toronto that collaborates with artists, community leaders, public policy advocates, philanthropists and urban developers, to make space for creativity and build value for everybody.
We wish to acknowledge the land on which Bayside Gallery operates in Toronto and our responsibility through our living here to steward it well. For thousands of years, it has been the traditional territory of many nations including the Haudenosaunee, Huron-Wendat and Mississaugas of the (New) Credit. Today, this meeting place is still home to many First Nations, Métis and Inuit peoples from across Turtle Island, and we are grateful for the opportunity to live and work on this land together.