Propeller Art Gallery

Antigua, Muros de Arte | Michelle Letarte | Totally enthralled by the arty and complex history beyond the ancient façades, I took hundreds of photos while walking the streets of Antigua and viewing as many nunneries, cathedrals, monasteries, schools, and colourful houses as possible. Selected photos were transferred to board and to recycled textured canvases to recreate the effects of aged walls and tell their stories. After painfully removing the paper layers and leaving behind the ink imprint, acrylic paint was applied to strengthen the vibrant and true colours of the walls and facades of La Antigua. Other images were directly collaged and highlighted with vivid acrylic. All the artworks bear the name of their original location and wish to convey to viewers the amazing history and hidden emotions rendered by the ancient walls of La Antigua. | Mariposa | Cesar Forero | Verbal insults are triggered by words that only have power if we allow them to affect us. This project begins by recalling the word “Mariposa” (“Butterfly”), which in Colombian culture is used dismissively to insult a man who has feminine mannerisms. By using this word, the intention is to humiliate the recipient as if it were an act of lowering their social status. The perpetrator’s goal is to imply that having a certain mannerism is a reason to insinuate that this person is less welcome or deserves mistreatment because of a personality trait. I have created a series of artworks depicting the different facets of evolution from caterpillar to butterfly. I have also created a butterfly costume with the intention of weakening this aggressive verbal act and social discrimination. I think the word, when referring to a lepidopteran, actually loses all its weight. The lepidopteran phase of some insects refers to the stage when these beings are most showy and colourful, with large, striking wings. It also reflects the success of a great metamorphic process and the adult phase that not all manage to reach.

Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com

Verbal insults are triggered by words that only have power if we allow them to affect us. This project begins by recalling the word “Mariposa” (“Butterfly”), which in Colombian culture is used dismissively to insult a man who has feminine mannerisms. By using this word, the intention is to humiliate the recipient as if it were an act of lowering their social status. The perpetrator’s goal is to imply that having a certain mannerism is a reason to insinuate that this person is less welcome or deserves mistreatment because of a personality trait. I have created a series of artworks depicting the different facets of evolution from caterpillar to butterfly. I have also created a butterfly costume with the intention of weakening this aggressive verbal act and social discrimination. I think the word, when referring to a lepidopteran, actually loses all its weight. The lepidopteran phase of some insects refers to the stage when these beings are most showy and colourful, with large, striking wings. It also reflects the success of a great metamorphic process and the adult phase that not all manage to reach.This project, from a political and social perspective, reflects a mindset of moving forward toward the future of a more equitable and supportive society. This is contrary to what we are seeing in government policies in several countries, which seem to be going backwards in time with their policies of respect for all members of society. A mistaken dream presents a vision of the future that speaks of a better culture, reflecting on the past, where discrimination, racism, and lack of rights were valued. We also see government policies that only favour the economically powerful and undervalue intellectuality and social equality.

Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Mariposa | Cesar Forero | propellerartgallery.com/exhibitions/...

A recent trip to Guatemala involved three days in La Antigua, the capital of the Kingdom of Guatemala, which included most of the current countries of Central America, from 1543 through 1773. The architecture of Antigua reflects the Baroque influence of the Spanish colonial style and its importance during that period. Its unique characteristics, with its numerous significant buildings and still standing ruins led to its designation as a UNESCO World Heritage Site in 1979. Three large volcanoes dominate the horizon around Antigua, the Volcán de Agua, Acatenango and the active Volcán de Fuego. Several religious orders, including Franciscans, Jesuits and Dominicans, took initiative in religious and educational matters and built churches, cloisters, schools and even a university. Earthquakes, volcanic eruptions and fires caused severe damage to many of the early buildings. Ruins abound, and limited restorations leave an intriguing mixture of old walls partially covered with ancient frescoes and invasive vegetation. Totally enthralled by the arty and complex history beyond the ancient façades, I took hundreds of photos while walking the streets of Antigua and viewing as many nunneries, cathedrals, monasteries, schools, and colourful houses as possible. Selected photos were transferred to board and to recycled textured canvases to recreate the effects of aged walls and tell their stories. After painfully removing the paper layers and leaving behind the ink imprint, acrylic paint was applied to strengthen the vibrant and true colours of the walls and facades of La Antigua. Other images were directly collaged and highlighted with vivid acrylic. All the artworks bear the name of their original location and wish to convey to viewers the amazing history and hidden emotions rendered by the ancient walls of La Antigua.

Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Antigua, Muros de Arte | Michelle Letarte | propellerartgallery.com/exhibitions/...

Antigua, Muros de Arte | Michelle Letarte | Michelle Letarte is an experimental scientist, educator and a mixed media artist based in Toronto. Years of research with cells/ molecules give her a distinct and often very focused perspective, trying to unravel the secrets of ancient walls/ caves encountered in her numerous travels, or exploring unusual natural habitats. She is an experimentalist, working in different techniques and media. She sees every exhibition as a new project, to be explored and shared with the viewers. Her artworks are in private collections in many countries. Michelle has been at Propeller Art Gallery since 2009, has served as a board member for several years, including Chair during the pandemic, and is currently Chair of the Membership Committee. | Mariposa | Cesar Forero, Artist, Architect & Performer Forero is a Colombian/Canadian, BIPOC and member of the LGBTQIA2S+ artist with a background in architecture, sculpture, painting, and public performance. He is currently the president of the Ontario Society of Artists. He is a member and exhibition coordinator of the International Academy of Ceramist AIC/IAC. He holds an MA from the Minnesota State University and an MFA from the University of Waterloo, Ontario. His artworks and performances are shown worldwide, stand in public and private collections and have been nationally and internationally awarded. His practice emphasizes social, humanitarian and environmental issues. He is fluent in English, Spanish, French and German. As a hobby, Forero cultivates a passion for bonsai. His artistic practice has focused on the protection of our society’s rights and the well-being of our planet, which go hand in hand. A big portion of his artwork is dedicated to creating opportunities to present the artwork nationally and around the globe for himself and his colleagues. He is an exhibition leader and facilitator at several national and international art organizations.

Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com

Totally enthralled by the arty and complex history beyond the ancient façades, I took hundreds of photos while walking the streets of Antigua and viewing as many nunneries, cathedrals, monasteries, schools, and colourful houses as possible. Selected photos were transferred to board and to recycled textured canvases to recreate the effects of aged walls and tell their stories. After painfully removing the paper layers and leaving behind the ink imprint, acrylic paint was applied to strengthen the vibrant and true colours of the walls and facades of La Antigua. Other images were directly collaged and highlighted with vivid acrylic. All the artworks bear the name of their original location and wish to convey to viewers the amazing history and hidden emotions rendered by the ancient walls of La Antigua. - Michelle Letarte | Verbal insults are triggered by words that only have power if we allow them to affect us. This project begins by recalling the word “Mariposa” (“Butterfly”), which in Colombian culture is used dismissively to insult a man who has feminine mannerisms. By using this word, the intention is to humiliate the recipient as if it were an act of lowering their social status. The perpetrator’s goal is to imply that having a certain mannerism is a reason to insinuate that this person is less welcome or deserves mistreatment because of a personality trait. I have created a series of artworks depicting the different facets of evolution from caterpillar to butterfly. I have also created a butterfly costume with the intention of weakening this aggressive verbal act and social discrimination. I think the word, when referring to a lepidopteran, actually loses all its weight. The lepidopteran phase of some insects refers to the stage when these beings are most showy and colourful, with large, striking wings. It also reflects the success of a great metamorphic process and the adult phase that not all manage to reach. - Cesar Forero

Opening Reception: Saturday, October 4, 2 – 5 pm | Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com

Totally enthralled by the arty and complex history beyond the ancient façades, I took hundreds of photos while walking the streets of Antigua and viewing as many nunneries, cathedrals, monasteries, schools, and colourful houses as possible. Selected photos were transferred to board and to recycled textured canvases to recreate the effects of aged walls and tell their stories. After painfully removing the paper layers and leaving behind the ink imprint, acrylic paint was applied to strengthen the vibrant and true colours of walls and facades of La Antigua. Other images were directly collaged and highlighted with vivid acrylic. All the artworks bear the name of their original location and wish to convey to viewers the amazing history and hidden emotions rendered by the ancient walls of La Antigua.

Antigua, Muros de Arte | Michelle Letarte | Opening today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/...

Verbal insults are triggered by words that only have power if we allow them to affect us. This project begins by recalling the word “Mariposa” (“Butterfly”), which in Colombian culture is used dismissively to insult a man who has feminine mannerisms. By using this word, the intention is to humiliate the recipient as if it were an act of lowering their social status. The perpetrator’s goal is to imply that having a certain mannerism is a reason to insinuate that this person is less welcome or deserves mistreatment because of a personality trait. I have created a series of artworks depicting the different facets of evolution from caterpillar to butterfly. I have also created a butterfly costume with the intention of weakening this aggressive verbal act and social discrimination. I think the word, when referring to a lepidopteran, actually loses all its weight. The lepidopteran phase of some insects refers to the stage when these beings are most showy and colourful, with large, striking wings. It also reflects the success of a great metamorphic process and the adult phase that not all manage to reach.

Mariposa | Cesar Forero | Opening today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/...

I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction, I go there, but I have been wondering why this particular orientation of mine persists. I may not have answered this question, but in attempting to do so, I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. - Beverley Daniels | Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. - Anne McAlear

Artist Talk: Sunday, September 28, 2 pm, at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Shape Shift | Anne McAlear | Grids | Beverley Daniels| propellerartgallery.com

Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. I work in a variety of mediums, cold wax and oil, pastels or oil sticks. I like the unpredictable outcomes that usually usurp my vision of what the work was to be, but, usually, they can bring me better surprises. - Anne McAlear

Shape Shift | Anne McAlear | Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/... |

Artist Talk: Sunday, September 28, 2 pm | I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction, I go there, but I have been wondering why this particular orientation of mine persists. I may not have answered this question, but in attempting to do so, I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. We live in grids of time and of space. Calendars are grids of time, useful things to help us organize ourselves. Grids of space are largely for organization as well: the street grid and the transit network that follows it, and the water main and power grids. In the built-up centre of the city, a grid is also aesthetic: fenestration gives each tall building a different face, making intensification enjoyable rather than monotonous. Like a calendar, a map can be a useful grid. The grids of maps can mislead, though, with their lines of latitude and longitude, which, close up look rectilinear but which we know are not. A map grid can be a claim of authority over a place, as in mapping a place that you are taking from others who already live there, naming it and dividing it into rectilinear lots, which you apportion to your fellow settlers. Small wonder, then, that I keep coming back to grids. To look at them is to try to understand the world. - Beverley Daniels

Grids | Beverley Daniels | Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/...

I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction, I go there, but I have been wondering why this particular orientation of mine persists. I may not have answered this question, but in attempting to do so, I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. - Beverley Daniels | Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. - ANNE MCALEAR

Grids | Beverley Daniels | Shape Shift | Anne McAlear | September 10 – 28 | propellerartgallery.com

Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. I work in a variety of mediums, cold wax and oil, pastels or oil sticks. I like the unpredictable outcomes that usually usurp my vision of what the work was to be, but, usually, they can bring me better surprises.

Continuing today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Shape Shift | Anne McAlear | propellerartgallery.com/exhibitions/...

I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction, I go there, but I have been wondering why this particular orientation of mine persists. I may not have answered this question, but in attempting to do so, I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. We live in grids of time and of space. Calendars are grids of time, useful things to help us organize ourselves. Grids of space are largely for organization as well: the street grid and the transit network that follows it, and the water main and power grids. In the built-up centre of the city, a grid is also aesthetic: fenestration gives each tall building a different face, making intensification enjoyable rather than monotonous. Like a calendar, a map can be a useful grid. The grids of maps can mislead, though, with their lines of latitude and longitude, which, close up look rectilinear but which we know are not. A map grid can be a claim of authority over a place, as in mapping a place that you are taking from others who already live there, naming it and dividing it into rectilinear lots, which you apportion to your fellow settlers. Small wonder, then, that I keep coming back to grids. To look at them is to try to understand the world.

Continuing today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Grids | Beverley Daniels | propellerartgallery.com/exhibitions/...

Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. I work in a variety of mediums, cold wax and oil, pastels or oil sticks. I like the unpredictable outcomes that usually usurp my vision of what the work was to be, but, usually, they can bring me better surprises. - ANNE MCALEAR | Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. We live in grids of time and of space. Calendars are grids of time, useful things to help us organize ourselves. Grids of space are largely for organization as well: the street grid and the transit network that follows it, and the water main and power grids. In the built-up centre of the city, a grid is also aesthetic: fenestration gives each tall building a different face, making intensification enjoyable rather than monotonous. Like a calendar, a map can be a useful grid. The grids of maps can mislead, though, with their lines of latitude and longitude, which, close up look rectilinear but which we know are not. A map grid can be a claim of authority over a place, as in mapping a place that you are taking from others who already live there, naming it and dividing it into rectilinear lots, which you apportion to your fellow settlers. Small wonder, then, that I keep coming back to grids. To look at them is to try to understand the world.

Opening Reception today, Saturday Sept. 13, at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com

Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. I work in a variety of mediums, cold wax and oil, pastels or oil sticks. I like the unpredictable outcomes that usually usurp my vision of what the work was to be, but, usually, they can bring me better surprises.

Opening Reception tomorrow, Saturday September 13, at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Shape Shift | Anne McAlear | propellerartgallery.com/exhibitions/...

I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction, I go there, but I have been wondering why this particular orientation of mine persists. I may not have answered this question, but in attempting to do so, I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. We live in grids of time and of space. Calendars are grids of time, useful things to help us organize ourselves. Grids of space are largely for organization as well: the street grid and the transit network that follows it, and the water main and power grids. In the built-up centre of the city, a grid is also aesthetic: fenestration gives each tall building a different face, making intensification enjoyable rather than monotonous. Like a calendar, a map can be a useful grid. The grids of maps can mislead, though, with their lines of latitude and longitude, which, close up look rectilinear but which we know are not. A map grid can be a claim of authority over a place, as in mapping a place that you are taking from others who already live there, naming it and dividing it into rectilinear lots, which you apportion to your fellow settlers. Small wonder, then, that I keep coming back to grids. To look at them is to try to understand the world.

Opening Reception Tomorrow, Saturday September 13 at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Grids | Beverley Daniels | propellerartgallery.com/exhibitions/...

September 10 – 28 | Opening Reception: Saturday, September 10, 2 – 5 pm | Artist Talk: Sunday, September 28, 2 pm |I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction I go there, but I have been wondering why this particular orientation of mine persists. I may have not answered this question, but in attempting to do so I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. We live in grids of time and of space. Calendars are grids of time, useful things to help us organize ourselves. Grids of space are largely for organization as well: the street grid and the transit network that follows it, and the water main and power grids. In the built-up centre of the city, a grid is also esthetic: fenestration gives each tall building a different face, making intensification enjoyable rather than monotonous. Like a calendar, a map can be a useful grid. The grids of maps can mislead, though, with their lines of latitude and longitude, which close up look rectilinear but which we know are not. A map grid can be a claim of authority over a place, as in mapping a place that you are taking from others who already live there, naming it and dividing it into rectilinear lots, which you apportion to your fellow settlers. Small wonder, then, that I keep coming back to grids. To look at them is to try to understand the world.

Grids | Beverely Daniels | propellerartgallery.com/exhibitions/...

September 10 – 28 | Opening Reception: Saturday, September 10, 2 – 5 pm | Artist Talk: Sunday, September 28, 2 pm |I have gravitated toward making grids for the past few years. In doing art, when I feel the nudge to go in a certain direction I go there, but I have been wondering why this particular orientation of mine persists. I may have not answered this question, but in attempting to do so I have come to appreciate better the effect of one’s environment on what one makes. Walking in a North American city with its insistent grids, its repetition of rectangles, is bound to inculcate a quadrilateral bias in one’s mental image bank. We live in grids of time and of space. Calendars are grids of time, useful things to help us organize ourselves. Grids of space are largely for organization as well: the street grid and the transit network that follows it, and the water main and power grids. In the built-up centre of the city, a grid is also esthetic: fenestration gives each tall building a different face, making intensification enjoyable rather than monotonous. Like a calendar, a map can be a useful grid. The grids of maps can mislead, though, with their lines of latitude and longitude, which close up look rectilinear but which we know are not. A map grid can be a claim of authority over a place, as in mapping a place that you are taking from others who already live there, naming it and dividing it into rectilinear lots, which you apportion to your fellow settlers. Small wonder, then, that I keep coming back to grids. To look at them is to try to understand the world.

Grids | Beverely Daniels | propellerartgallery.com/exhibitions/...

September 10 – 28 | Opening Reception: Saturday, September 13, 2 – 5 pm | Artist Talk: Sunday, September 28, 2 pm | Making abstract art was not easy for me. My previous work was in realism. I chose to move to abstract because I fell in love with the work of the American abstract expressionists. I chose it because it challenges me. I love how colours play off of each other; I love texture and immediacy. The constant trial of getting this down on paper or panel that both satisfies and confounds me. I work in a variety of mediums, cold wax and oil, pastels or oil sticks. I like the unpredictable outcomes that usually usurp my vision of what the work was to be, but usually can bring me better surprises.

Shape Shift | Anne McAlear | Opening today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/...

Exhibition Dates: August 20 – September 7, 2025 | Artist Talks: Sunday, September 7, 2 – 4 pm | Now in its 19th year, Propeller’s much-loved Salon exhibition returns, this time in celebration of our first year as the owners of our space at 30 Abell Street. Originally launched in 2006 as a spontaneous salon-style show to fill a programming gap, Salon has since become an annual tradition that brings together the extended Propeller community. Members were invited to exhibit alongside artists they admire, creating an expansive and diverse showcase of contemporary work. This year’s special theme, “Artist’s Best,” marks a celebratory milestone. Each participating artist was asked to submit the work they consider their strongest or most personally meaningful. The result is a dynamic exhibition of 113 works by 80 artists, across a wide range of media. Two prizes will be awarded: Best in Show, selected by the organizing committee, and People’s Choice, voted on by gallery visitors. Join us for this vibrant celebration of artistic excellence, community, and creativity.

Continuing today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Salon 19 | Members, Alumni & Invited Guests | propellerartgallery.com/exhibitions/...

Exhibition Dates: August 20 – September 7, 2025 | Artist Talks: Sunday, September 7, 2 – 4 pm | Now in its 19th year, Propeller’s much-loved Salon exhibition returns, this time in celebration of our first year as the owners of our space at 30 Abell Street. Originally launched in 2006 as a spontaneous salon-style show to fill a programming gap, Salon has since become an annual tradition that brings together the extended Propeller community. Members were invited to exhibit alongside artists they admire, creating an expansive and diverse showcase of contemporary work. This year’s special theme, “Artist’s Best,” marks a celebratory milestone. Each participating artist was asked to submit the work they consider their strongest or most personally meaningful. The result is a dynamic exhibition of 113 works by 80 artists, across a wide range of media. Two prizes will be awarded: Best in Show, selected by the organizing committee, and People’s Choice, voted on by gallery visitors. Join us for this vibrant celebration of artistic excellence, community, and creativity.

Salon 19 | Members, Alumni & Invited Guests | Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/...

Opening Reception today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | propellerartgallery.com/exhibitions/... | Salon 19 | Members, Alumni & Invited Guests | Opening Reception: Thursday, August 21, 5 – 8 pm

Exhibition Dates: August 20 – September 7, 2025 | Opening Reception: Thursday, August 21, 5 – 8 pm | Artist Talks: Sunday, September 7, 2 – 4 pm | Now in its 19th year, Propeller’s much-loved Salon exhibition returns, this time in celebration of our first year at our new permanent home at 30 Abell Street. Originally launched in 2006 as a spontaneous salon-style show to fill a programming gap, Salon has since become an annual tradition that brings together the extended Propeller community. Members were invited to exhibit alongside artists they admire, creating an expansive and diverse showcase of contemporary work. This year’s special theme, “Artist’s Best,” marks a celebratory milestone. Each participating artist was asked to submit the work they consider their strongest or most personally meaningful. The result is a dynamic exhibition of 113 works by 80 artists, across a wide range of media. Two prizes will be awarded: Best in Show, selected by the organizing committee, and People’s Choice, voted on by gallery visitors. Join us for this vibrant celebration of artistic excellence, community, and creativity.

Opening today at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Salon 19 | Members, Alumni & Invited Guests | propellerartgallery.com/exhibitions/...

Until August 17th at Propeller Art Gallery, the exhibition Below Our Feet and Above Our Heads explores the merging of natural and artificial spheres. Through the generous sponsorship of the Toronto Friends of the Visual Arts, this exhibition is the result of the gallery’s “Budding Curators Program,” designed to uplift the work of Emerging Curators Francis Pitsadiotis and Paige Bowen, with the mentorship support by curator Selin Kahramanoğlu, who previously curated The New Reality exhibition by William Lottering at Propeller, July 2024. Through a variety of mediums, including printmaking, painting, installation, animation, and performance, Below Our Feet and Above Our Heads features ten impactful artists: Deepikah R Bhardwaj, Sari Cheah, Timo Cheah, Zubin Isaac, Andria Keen, Judith Librach, Seamus McVey Neufeld, Raven Myers, Vismay Sanghavi and Daren Souvannavong. In-gallery sound provided by Zubin Isaac. To conclude our show, an Artist Panel Discussion will be held on August 17th, 1 – 4 pm, where artists will discuss the exhibition themes, their artwork, and individual practices. We exist in a space of hybridity – where the everyday has become determined by the technological world. The margins between natural and artificial have blurred. What was once genuine is now feeling more illusory. Rather than fighting this dichotomy, why not accept their inevitable fusion? As the rate of change increases, discomfort and unease become commonplace. Do we recognize that the physical and digitized landscapes are indistinguishable? They are merged, mirroring one another, reflecting the parallel processes of life and expansion, heavily influenced by the complexities of the political and social spheres, dependent on human advancement. The separation of the natural and the artificial is no longer distinct but woven together, inevitably accelerating towards an uncertain and nebulous future. — Paige Bowen & Francis Pitsadiotis

Below Our Feet and Above Our Heads | On until August 17 | propellerartgallery.com/exhibitions/... | Curators & Artist Panel: Sunday, August 17, 2 pm

Running from July 30th to August 17th at Propeller Art Gallery, the exhibition Below Our Feet and Above Our Heads explores the merging of natural and artificial spheres. Through the generous sponsorship of the Toronto Friends of the Visual Arts, this exhibition is the result of the gallery’s “Budding Curators Program,” designed to uplift the work of Emerging Curators Francis Pitsadiotis and Paige Bowen, with the mentorship support by curator Selin Kahramanoğlu, who previously curated The New Reality exhibition by William Lottering at Propeller, July 2024. | Through a variety of mediums, including printmaking, painting, installation, animation, and performance, Below Our Feet and Above Our Heads features ten impactful artists: Deepikah R Bhardwaj, Sari Cheah, Timo Cheah, Zubin Isaac, Andria Keen, Judith Librach, Seamus McVey Neufeld, Raven Myers, Vismay Sanghavi and Daren Souvannavong. In-gallery sound provided by Zubin Isaac. | We exist in a space of hybridity – where the everyday has become determined by the technological world. The margins between natural and artificial have blurred. What was once genuine is now feeling more illusory. Rather than fighting this dichotomy, why not accept their inevitable fusion? As the rate of change increases, discomfort and unease become commonplace. Do we recognize that the physical and digitized landscapes are indistinguishable? They are merged, mirroring one another, reflecting the parallel processes of life and expansion, heavily influenced by the complexities of the political and social spheres, dependent on human advancement. The separation of the natural and the artificial is no longer distinct but woven together, inevitably accelerating towards an uncertain and nebulous future. — Paige Bowen & Francis Pitsadiotis

Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Below Our Feet and Above Our Heads | July 30 – August 17 | propellerartgallery.com/exhibitions/... | Curated & Organized by Paige Bowen & Francis Pitsadiotis

On Saturday, August 9th, from 6 – 8 pm, Performance Night will feature a selection of artists commenting on the exhibition theme through interpretive movement, an audio-visual performance, and poetry. To conclude our show, an Artist Panel Discussion will be held on August 17th, 1 – 4 pm, where artists will discuss the exhibition themes, their artwork, and individual practices. | We exist in a space of hybridity – where the everyday has become determined by the technological world. The margins between natural and artificial have blurred. What was once genuine is now feeling more illusory. Rather than fighting this dichotomy, why not accept their inevitable fusion? As the rate of change increases, discomfort and unease become commonplace. Do we recognize that the physical and digitized landscapes are indistinguishable? They are merged, mirroring one another, reflecting the parallel processes of life and expansion, heavily influenced by the complexities of the political and social spheres, dependent on human advancement. The separation of the natural and the artificial is no longer distinct but woven together, inevitably accelerating towards an uncertain and nebulous future. — Paige Bowen & Francis Pitsadiotis

Below Our Feet and Above Our Heads | Saturday, August 9, 6 – 8 pm: Performance by Sari Cheah & an audio-visual performance by Zubin Isaac, and other works | propellerartgallery.com/exhibitions/...

Curated & Organized by Paige Bowen & Francis Pitsadiotis | The exhibition Below Our Feet and Above Our Heads explores the merging of natural and artificial spheres. Through the generous sponsorship of the Toronto Friends of the Visual Arts, this exhibition is the result of the gallery’s “Budding Curators Program,” designed to uplift the work of Emerging Curators Francis Pitsadiotis and Paige Bowen, with the mentorship support by curator Selin Kahramanoğlu, who previously curated The New Reality exhibition by William Lottering at Propeller, July 2024. Through a variety of mediums, including printmaking, painting, installation, animation, and performance, Below Our Feet and Above Our Heads features ten impactful artists: Deepikah R Bhardwaj, Sari Cheah, Timo Cheah, Zubin Isaac, Andria Keen, Judith Librach, Seamus McVey Neufeld, Raven Myers, Vismay Sanghavi and Daren Souvannavong. In-gallery sound provided by Zubin Isaac.

Continuing at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Below Our Feet and Above Our Heads | July 30 – August 17 | propellerartgallery.com/exhibitions/...

Running from July 30th to August 17th at Propeller Art Gallery, the exhibition Below Our Feet and Above Our Heads explores the merging of natural and artificial spheres. Through the generous sponsorship of the Toronto Friends of the Visual Arts, this exhibition is the result of the gallery’s “Budding Curators Program,” designed to uplift the work of Emerging Curators Francis Pitsadiotis and Paige Bowen, with the mentorship support by curator Selin Kahramanoğlu, who previously curated The New Reality exhibition by William Lottering at Propeller, July 2024. Through a variety of mediums, including printmaking, painting, installation, animation, and performance, Below Our Feet and Above Our Heads features ten impactful artists: Deepikah R Bhardwaj, Sari Cheah, Timo Cheah, Zubin Isaac, Andria Keen, Judith Librach, Seamus McVey Neufeld, Raven Myers, Vismay Sanghavi and Daren Souvannavong. In-gallery sound provided by Zubin Isaac. Please join us for our Opening Reception on Thursday, July 31st, from 6 – 9 pm.

Today, Thursday, July 31, 6 – 9 pm: Opening Reception at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Below Our Feet and Above Our Heads | July 30 – August 17 | propellerartgallery.com/exhibitions/...

Curated & Organized by Paige Bown & Francis Pitsadiotis | Thursday, July 31, 5 – 8 pm: Opening Reception | Saturday, August 9, 6 – 8 pm: Performance by Sari Cheah & an audio-visual performance by Zubin Isaac, and other works | Curators & Artist Panel: Sunday, August 17, 2 pm | Below Our Feet and Above Our Heads explores the merging of natural and artificial spheres. Through the generous sponsorship of the Toronto Friends of the Visual Arts, this exhibition is the result of the gallery’s “Budding Curators Program,” designed to uplift the work of Emerging Curators Francis Pitsadiotis and Paige Bowen, with the mentorship support by curator Selin Kahramanoğlu. | Through a variety of mediums, including printmaking, painting, installation, animation, and performance, Below Our Feet and Above Our Heads features nine impactful artists: Vismay Sanghavi, Judith Librach, Timo Cheah, Raven Myers, Andria Keen, Deepikah R Bhardwaj, Seamus McVey Neufeld, Sari Cheah, and Daren Souvannavong. In-gallery sound provided by Zubin Isaac.

Opening tomorrow Wednesday, July 30, at Propeller Art Gallery, one of the oldest artist-run galleries in Toronto, Canada | Below Our Feet and Above Our Heads | July 30 – August 17 | propellerartgallery.com/exhibitions/...

Misneach: We Need This Now | We are living through extraordinary times which demand much of us. For artists and creatives, it is a time that demands that we continue to create, to share stories, and to address the challenges we face but also to provide opportunities for hope. When 9/11 occurred, I was installing an exhibition of work by artist Aganetha Dyck. After the buildings collapsed, she, myself, and our preparators sat beside a radio listening to the ongoing news reports of death and destruction. At one point, Aganetha asked if we should even bother continuing with the installation and whether there was any purpose of having the exhibition in light of what happened. | My reply to her was a resounding YES. It WAS important. Maybe even more so than before. That continuing to create and celebrate what is beautiful and honourable in the world, is the strongest repudiation to fear, destruction, and hopelessness. We needed to gather our “misneach” then, and resolve to do our work in service of those who needed reasons to feel that we could continue on and get through what was happening in the world. We needed to do this for ourselves. And we needed to do this for others. So, despite fear, anxiety and trepidation we completed our work to create a breathtaking exhibition. The opening a few days later was a beautiful event and provided solace for all who attended. Recent events that have happened in this world have asked us all to find misneach within oneself. It was gratifying to see the incredible response that we had to this call, with artists delving deep and sharing their fears and their hopes – ranging from the extraordinarily intimate and personal, to those who addressed the chaos and uncertainty that we are navigating on a global scale. I thank all who responded to the call.

Curator & Artist Talk: Sunday, July 27, 2 pm | Misneach: We Need This Now | Curator Virginia Eichhorn | propellerartgallery.com/exhibitions/...