Curated by Kalpna Patel December 2016–February, 2017
The Theatre Centre is excited to present Dancing With Dragons by Paddy Leung, as part of SIDE STREETS, a year-round series of hanging installations in The Theatre Centre Café/Bar, curated by Kalpna Patel and created by the talented and local artists of City of Craft.
Toronto-based multidisciplinary artist, Paddy Leung, is a fairy of all traits that can make all your most magical dreams come true! Using paper, glitter, streamers, bling, and confetti, Paddy recreates her own hopeful, imaginative world. Her large-scale, whimsical installations allow the audience a peek into Paddy’s imagination. Paddy is also known for hosting themed events and workshops, interacting with Toronto’s vibrant art community, and the city as a whole.
Dancing With Dragons by Paddy Leung SIDE STREETS exhibit Photo: Kalpna Patel
Born in the year of the dragon, Paddy introduces Dancing With Dragons as her visual interpretation of the Chinese tradition by integrating western pop culture influences. Paddy’s latest creation is heavily inspired by The Lion Dance, also known as The Chinese Dragon Dance. Traditionally, the lions’ costumes are composed of beautiful and colourful textiles.The lion’s head (mask) is usually oversized and dragon-like, followed by a long silky colourful textile that extends to the lion’s body. The Dragon Dance is often performed during Chinese New Year and other Chinese traditional, cultural, and religious festivals. The dance is thought to bring good luck and is an integral part of many important occasions such as weddings ceremonies, and business opening events. With their inclusion in this year’s City of Craft, Paddy hopes the dragons will bring good luck and magic to all that see them!
Check out her spectacular Dancing With Dragons shimmering at The Theatre Centre Café/Bar until February 2017! Read a Q & A with Paddy conducted by Sarah Febbraro, Nicole Collins, and Myung-Sun Kim. Stay tuned for Paddy’s Chinese New Year special edition community meal and a workshop at The Theatre Centre in January, 2017!
Curated by Kalpna Patel December 2016–February, 2017
The Theatre Centre is excited to present Dancing With Dragons by Paddy Leung, as part of SIDE STREETS, a year-round series of hanging installations in The Theatre Centre Café/Bar, curated by Kalpna Patel and created by the talented and local artists of City of Craft.
Sarah Febbraro, Nicole Collins, and Myung-Sun Kim sat down with Paddy to chat about her work, family, influences, and community.
Myung-Sun Kim (MSK): You do so many different things—awesome haircuts, drawings, workshops, and playful fun installations. When and how did this all begin? And where/how did you learn to do all those things? Was this something that you were doing as a kid growing up?
PL: Haircutting is a more recent thing for me, but installation and making art has been a part of my life since I was a kid. When I was a 9, I hosted a puppet show for my sister Jamie’s 7th birthday. It was a collaborative idea. My sister and I wanted to create something beautiful for the neighbourhood. My family didn’t have a lot of money at the time, so we had to be creative with our birthday parties. We basically improvised the whole thing. I think that moment taught me that art could be used as a way to bring people together and it changed my relationship with art.
Haircutting came much later. I was having a hard time feeling comfortable at salons and barber shops, so I started cutting my own hair. Soon I was cutting for my friends, and friends of friends, and it grew from there.
I began doing workshops because I wanted to create a safe space for my friends and the community, and I continue for the same reasons. Recently, I’ve been involved in more programs with youth and children. I hope I can continue this kind of work. I think that people of all ages deserve to have a space where they feel safe to explore their creativity.
MSK: Why the dragons? Could you share your story about coming out, how art played a role in building new relationships and your extended community?
Work in progress for “Dancing With Dragons” in Paddy’s home – studio, 2016 Image courtesy of the artist
PL: This summer I had the pleasure to be part of THAT’S SO GAY exhibition curated by Syrus Marcus Ware. It was such an honour and truly a blessing to show with Syrus and amongst so many amazing artists. I knew I wanted to create a piece that was self-reflective, ultimately a self portrait. I’m born in the year of the Dragon, according to the Chinese calendar. I chose to make 3 dragons because 3 is a lucky number in Chinese culture. The number 3 represents qualities that I hope to obtain such as mystical abilities, powerful creativity, and greater appreciation of the beauty of life. In this piece I was seeking to connect with heaven and spirit and I felt that a portrait of dragons in flight was a perfect symbol to portray this.The dominant colours each have different meanings: WHITE—brightness, purity, fulfillment; RED—good luck, prosperity; YELLOW—yin yang, balance; BLACK—the color of heaven; GREEN—good health.
Coming out for me was more like coming into a realization of myself. It was hard for my parents initially, I think because they thought my life would be harder in some ways and obviously didn’t want me to struggle because of it. It took many years to get to the point where I am completely comfortable being myself with my family. It was a difficult time, but I think that it has made us closer in the end.
My art family (my chosen family) came into my life around this time also. I had dropped out of art school and my Dad was very sick. I was so depressed and lost that I stopped making art for two years. But I met some amazing new people, who really became an extended family. They helped me to fall in love with art again.
MSK: Could you share your story about Coupe de Coeur project, what/ how did things change for you? (re: Coupe de Coeur: an art fundraiser campaign that provides stylish, clean, gangster, bad bitch, handsome, pretty, pixie $5 haircuts by Paddy Leung.) Over 3-4 months, you raised $3000, way over your goal of $500. Who came to see you? What did it mean for you to throw this workshop party for all these people?
PL: When Coupe de Coeur started I was mainly just cutting hair for friends. But one summer I wanted to host a tie-dye party for all my friends. I didn’t have enough money though, so I decided to fundraise by cutting hair. Word spread really quickly and so many people came out to support. Many Coupe de Coeur patrons were also coming out to my events, so being able to share with them something that they helped to create was a magical experience. A lot people that I have met over the years, I probably never would have met if not for Coupe de Coeur. In retrospect, it has inspired a lot of my community work. I think people don’t talk enough about the need for creating safe spaces in our communities. I welcome people into my home because I want them to feel that they are welcome. I can only hope that this feeling has carried over into my workshops as well.
MSK: Can you talk about the first series of workshops? Where did you hold it and how many people attended? What did you do?
PL: The first series included mask party, tie-dye, and sticker workshops. The mask party was a special invite to my (chosen) family to come out and celebrate life with me. I gave everyone a month to construct a mask of their choice and we all came together in the park at dusk. It was a way to say thank you to the people who had been so supportive and cared for me over the years.
The mask party led to other ideas. I wanted to do a tie dye party so I started raising funds with Coupe de Coeur. I was able to raise about $3000 in 4 months. We hosted it in a very small studio, but somehow managed to squeeze in around 200 people.
MSK: Can you talk about why you make masks?
PL: As a kid I loved the idea of wearing a mask. I like the idea that when you put on a mask, it allows you to alter yourself in some way. It’s you, but it’s not you, and there’s a certain freedom in that.
Sarah Febbraro (SF): How does contextualizing “sticker parties” as Art change the definition of art itself?
PL: Art is so many different things. When we’re kids, art is really just the embodiment of the joy of creating. We often lose this along the way, especially through formalized art education. After leaving art school, I took some time to really think about what art meant to me. I wanted to return to the space where there are no boundaries, just freedom of expression, and fun.
Free After Three Youth Program: Tie Dye Party, Art Gallery of Ontario, 2015 Image credit: Gabriel Li
MSK: Did you imagine that you would be holding workshops at major institutions like the AGO? How has that changed for you?
PL: No, not at all. I never saw myself as being a part of a major institution like the AGO. Being Asian and queer, I sort of expected to do my own thing, but it gave me a place to continue my work and engage with new communities. It really allowed my practice to grow.
SF: What are the differences between renting your own space to run a program and working within a cultural institution?
PL: There is a huge difference. First and foremost, the size of the space. Accessibility in the city can be hard to find, but large institutions can provide this. With your own space, you might have more freedom, but this can also mean more chaos. Whereas with a larger institution, there is already a system in place, so you follow the guidelines and work within them. They both have their pros and cons.
Free After Three Youth Program: Tie Dye Party, Art Gallery of Ontario, 2015 Image credit: Gabriel Li
SF: What does your apartment look like?
PL: My apartment is filled with things that hold some sentimental value. I keep broken toys, objects that make me laugh, or bring me joy. I have a lot of art from artists that I admire, photos (of myself)—self-reflection is key. My home also doubles as my studio, so there are boxes of materials everywhere. It’s like an art supply store.
Kol Kid’s Valentine’s Day Window, 2016 Image courtesy of the artist
MSK: You also do regular install at Kol Kid—how long have you been doing this?
PL: I’ve been doing Kol Kid’s window for the last 5 years. I quit my job working for a visual merchandising company. When I quit, I knew I wanted to start my own (smaller) version of this. Kol Kid seemed like a perfect location. I used this as my canvas and it started to get a lot of attention. I’ve been doing the window for the past 5 years. It helped me to develop my portfolio and allow my work to be seen. I feel so blessed to have been trusted with such an invaluable opportunity to install Kol Kid’s window displays. I truly am thankful for Lisa Miyasaki for believing in me from the very beginning.
Kol Kid’s Valentine’s Day Window, 2016 Image courtesy of the artist
Nicole Collins (NC): What happens to all the materials when the installation is disassembled?
PL: I keep it and reuse it. Sometimes people love my pieces and want to take them home, which makes me so happy. But I’m also happy to repurpose the materials. It’s nice to give new life to my work in that way.
SF: Is your work executed alone as important as your collaborative work if the results are the same? Why or why not?
PL: The process is obviously much different. I actually prefer working with people. With larger projects, I often seek help from friends or family, or people that I have met through my workshops. In the end, the results are quite different. Each person has a different technique and that is definitely reflected in the work. The final product contains a bit of each person that contributed, which is really beautiful.
That’s So Gay: Dancing With Dragons, The Gladstone Hotel, 2016 Image courtesy of the artist
NC: What is your favourite film and why?
PL: “Science of Sleep” by Michel Gondry. Everything is made out of found materials and I admire his skill in putting it all together and making it all move so magically. There’s a scene where he’s swimming in his dreams and it’s all made out of cardboard. I love the playful, nostalgic, DIY, qualities to his work. I consider that to be high art.
MSK: How has your relationships with your family changed?
PL: I have learned that I have to try and continue showing what it means to be me. Art has taught me how to love, and has given me the hope and strength to love stronger and better. It has inspired me to love my family stronger.
Myung-Sun Kim (MSK) is an artist and the Manager of Artist & Community Activation at The Theatre Centre.
Sarah Febbraro (SF) is an artist, an arts educator, and the Youth Program Facilitator at the Art Gallery of Ontario.
Nicole Collins (NC) is an artist and an Assistant Professor in the Drawing & Painting program at the OCAD University.
The Theatre Centre Closes Capital Campaign with One Million Dollars in Final Contributions and Announces New Name for Mainspace Theatre
Thanks to the amazing work of our board, staff, and incredible Capital Campaign Chair, Robert Sirman, we have closed our campaign with the announcement of One Million Dollars in final contributions! At a special donor event, held on Monday, November 14th, we revealed a number of new major gifts to our $6.2 million capital project, including a $500,000 gift from Hon. Margaret Norrie McCain, who chose to name the theatre after our organization’s visionary Artistic Director, Franco Boni!
In total, five major gifts were announced, all received or pledged in the last six months:
• $500,000 from philanthropist Hon. Margaret Norrie McCain, which includes naming rights to the mainspace theatre;
• an additional $100,000 from board member Jenny Ginder and John Todd, bringing their cumulative support to $105,000;
• an additional $100,000 from board member Rick Matthews and Ann Marie Stasiuk, bringing their cumulative support to $105,000;
• an additional $25,000 from board member Lindy Cowan and Chris Hatley, bringing their cumulative support to $30,000; and
• $25,000 from the Delaney Family Foundation.
In addition, the City of Toronto, through a Section 37 Community Benefit, is committed to a further capital investment of $250,000 in the City-owned former Carnegie Library that The Theatre Centre calls home, officially bringing the capital campaign to a close. In the words of local City Councillor Ana Bailao, “This is a project whose benefits far exceed the modest scale of its budget, and the City is delighted to remain on board to see it to completion.”
Ward 18 City Councillor Ana Bailão and Franco Boni (Aritistic Director of The Theatre Centre). Photo: Dahlia Katz
“The adaptive re-use of this City-owned building has had a tremendous impact both on The Theatre Centre and on the larger community in which it operates,” said Board Chair Richard Mortimer. “Our move here in March 2014 made real our goal of becoming a true incubator and community hub, partnering with a wide variety of organizations in many disciplines. None of this would have been possible without the support of the public and private donors who we are celebrating today.”
Board Chair Richard Mortimer and Jen McCain unveil the sign for the newly named Franco Boni Theatre. Photo: Dahlia Katz
The announcements were made at a celebratory reception for both private and public funders to the capital campaign. The climax of the event was the unveiling of new signage for the Franco Boni Theatre by Board Chair Richard Mortimer and Jen McCain, representing her grandmother Margaret.
“We are especially grateful for the generous support of Hon. Margaret Norrie McCain,” said Board member Robert Sirman, Capital Campaign Chair. “Margie’s gift of $500,000—the largest in The Theatre Centre’s history—provided the push that allowed us to complete the campaign and name the mainspace theatre. That Margie chose to dedicate the space to the visionary who made all of this possible—The Theatre Centre’s Artistic Director for the past 13 years, Franco Boni—is just further evidence of her extraordinary generosity and commitment to community.”
“I am totally humbled by this unexpected honour,” said Artistic Director Franco Boni. “We started with a simple commitment to make good art, and ended up doing so much more. I am deeply moved that my name will now be permanently connected to the community-building achievement this project represents.”
Board member Robert Sirman with Sandy Houston and Michael Trent from the Metcalf Foundation. Photo by: Dahlia Katz
History of the Project
The Theatre Centre
The Theatre Centre is a nationally-recognized live arts incubator that serves as a research and development hub for the cultural sector. It provides space, subsidy, and mentorship to nurture the development of new works by the next generation of artistic leaders.
With a focus on long-term support for cross-disciplinary artistic work, The Theatre Centre is unique within the landscape of contemporary live performance in Toronto and across Canada. It fosters a culture of innovation by embracing risk and giving artists the opportunity to explore, devise, and test their ideas in traditional and non-traditional formats.
The Theatre Centre is also a destination for audiences who are passionate about original work and the creative process behind it. Its facilities serve as a cultural and community hub where people of all ages and backgrounds can access and participate in civic engagement and performance.
The Theatre Centre sits on the traditional lands of the Anishinaabe, Haudenosaunee, and Wendat peoples.
The Capital Project
Thirty-three years of a nomadic existence came to an end for The Theatre Centre in 2012 when it gained tenancy to a City-owned former Carnegie library at 1115 Queen Street West. Before it could occupy the building, however, it needed to undertake major renovations to transform the interior into a unique living arts facility and restore the building to its original function as a place of public use and cultural significance.
The project design team was led by architect Philip Goldsmith, whose portfolio also includes the National Ballet School on Jarvis and Maitland Streets and the Royal Conservatory of Music on Bloor. The capital renovation budget was $6.2 million – an enormous stretch for an organization the size of The Theatre Centre. With seed funding from the Metcalf Foundation and strong support from all three levels of Government, the company launched a private fundraising campaign and broke ground in October 2012. Eighteen months and much hard work later, the building had been transformed into a state-of-the-art theatre and cultural hub, and was officially opened as the permanent home of The Theatre Centre in March 2014.
Capital Campaign Public Supporters • Government of Canada, Department of Canadian Heritage • Province of Ontario • Ontario Trillium Foundation • City of Toronto
Capital Campaign Major Private Supporters $100,000 + • Hon. Margaret Norrie McCain • George Cedric Metcalf Charitable Foundation • BMO Financial Group • Streetcar Developments • TD Bank • Jenny Ginder & John Todd • Rick Matthews & Ann Marie Stasiuk
$25,000 – $99,000 • Lindy Cowan & Chris Hatley • Denis Lefebvre • Timothy & Frances Price • Kevin Helfand in Memory of Harry Helfand • John & Don McKellar in Memory of Tracy Wright • Rose DeMasi-Mantella & Daniel Mantella • Interior Systems Contractors Association • Pemberton Group & Marel Contractors • The Delaney Family Foundation
Franco Boni
Franco Boni has been Artistic Director of The Theatre Centre since 2003 and is the acknowledged visionary behind its successful move to a totally renovated and transformed Carnegie library building at 1115 Queen Street West. He is a recognized cultural innovator, facilitator and community builder with a demonstrated track record of providing financial stability and artistic credibility to the arts organizations he has led. Boni has served as Festival Director of the Rhubarb Festival and Artistic Producer of the SummerWorks Theatre Festival. He is the inaugural recipient of the Ken McDougall Award for emerging directors, and was awarded the Rita Davies Cultural Leadership Award for outstanding leadership in the development of arts and culture in the City of Toronto and the George Luscombe Award for Mentorship in Professional Theatre.
“Franco sees talent, innovation and ideas where no one else even thinks to look. He is an artistic thinker and visionary who pushes the boundaries of form and thought in the realm of theatre creation. He is equally as committed to the larger community as he is to the theatre community and understands that the relationship between the two is critical.” – Jennifer Tarver
The Theatre Centre's Artistic Director Franco Boni with a "few words" of thanks. Photo by: Dahlia Katz
Jani Lauzon and Franco Boni. Photo by: Dahlia Katz
Our Long-Term-Relationship Partner, Why Not Theatre, has completely taken over our building, and we couldn’t be happier to have them here! Along with presenting The RISER Project in the Incubator, and Iceland and A Reason to Talk in our Mainspace, they are also offering two exciting workshop presentations!
Rimah Jabr’s This Is Not What I Want To Tell You
Saturday, May 14th at 2:00pm
Location: Incubator, The Theatre Centre, 1115 Queen Street West
Admission: FREE!
Rimah Jabr is an emerging Palestinian playwright and theatre-maker, who is a newcomer to Canada. Her plays have been performed in cities across Belgium, as well as the Netherlands. To help her make her first steps as a playwright in Toronto, Why Not Theatre and Guillermo Verdecchia are providing her with the space and support to workshop her new piece This is Not What I Want to Tell You, with performer Khadijah Roberts-Abdullah. This… is a personal work in which a young girl must defend herself against accusations she doesn’t understand.
There will be an intimate, public showing of the work, on Saturday, May 14th at 2:00pm. There is no admission charge. If you are interested in attending, please contact Kelly Read.
Selfconscious Theatre’s We Keep Coming Back Workshop Presentation
Saturday, May 14th at 4:00pm
Location: The Gallery, 2nd floor at The Theatre Centre, 1115 Queen Street West
Admission: FREE!
With support from Why Not Theatre and The Theatre Centre, Selfconscious Theatre will be at The Theatre Centre from May 9-14th workshopping its current project, We Keep Coming Back, a new performance disturbing Polish-Jewish narratives.
We Keep Coming Back tells the true story of a trip to Poland that Michael Rubenfeld took along with his mother Mary Berchard, director Sarah Garton Stanley, and Polish author/filmmaker, Katka Reszke. It was a trip of return to the country of Michael and Mary’s Polish origins that they embarked on to better understand Poland’s complicated history, and in turn, their own strained relationship. Michael hoped the journey would help him reconnect with his Mother, but things took an unexpected and remarkable turn when they discovered a vibrant contemporary world of Jewish life re-emerging in Poland. We Keep Coming Back will premiere this Summer in Krakow, Poland, as part of the Jewish Culture Festival.
An invited showing will be presented, on Saturday, May 14th at 4:00pm. Availability is limited. There is no admission charge. If you are interested in attending, please contact Sue Balint.
We Keep Coming Back is supported by: The Collaborations at Canada’s National Arts Centre English Theatre, The Canada Council for the Arts, the Ontario Arts Council, Kana Theatre (Szczecin, PL), Ministry of Foreign Affairs of the Republic of Poland, Consulate General of the Republic of Poland in Toronto, The Polish Cultural Institute in New York City, the Nadaye Foundation, Beit Kraków, and LOGTV, Ltd.
The Theatre Centre is a registered Canadian charity, dedicated to offer a home for creative, cultural and social interactions to invent the future. We believe art is political. We believe resources go further when you share them. We believe cultural spaces are public spaces.
We believe in offering artists time—time to try, time to fail, time to discover all of the things their ideas will not become.
For Media and Public Appearance Requests for our leadership team, please email Director of Communications Emily Jung at [email protected]
You can reach both Aislinn and liza via our artistic inquiries inbox at [email protected]
Questions about donations, sponsorships, and operations at The Theatre Centre can be sent to Audrey at [email protected]
The Theatre Centre
The Theatre Centre is a nationally recognized live-arts incubator and community hub. Our mission is to offer a home for creative, cultural and social interactions to invent the future. We make work that spans disciplines and genres; work that pushes the boundaries of what is considered “art”. Our programming and our role as a community space are inextricably linked. Art is not made in a silo: it is connected to the world around it.
Before serving as our permanent home, The Theatre Centre’s location at 1115 Queen St. W. was a branch of the Toronto Public Library.
Commissioned in late 1907, the Queen and Lisgar branch was built to serve residents of the west end and opened on Tuesday April 30, 1909. In 1957, the library’s Foreign Literature Centre was located here, and initially had holdings of 792 books in several languages that weren’t English. By 1963, the collection had 11,000 titles that grew from a handful of languages to over 60. The Queen and Lisgar branch, however, closed down in 1946, with most of the holdings moving to the new Parkdale library (just down the street from us) and 1115 Queen St. W. became the Parkdale unit of Toronto Public Health. When Public Health relocated their offices, changes in the West Queen West neighbourhood and cultural advocacy lead to a successful campaign to move The Theatre Centre into the building, after years without a permanent venue.
The building was designed in a Beaux Arts style under the supervision of city architect, Robert McCallum, who was a rather controversial figure in the city. He gained notoriety for his unfavourable views towards concrete, creating difficult standards for builders to meet. McCallum resigned from his position as city architect in 1913 after City Council criticized him for his management of the department.
Carnegie libraries were established by the philanthropic efforts of Andrew Carnegie. He is responsible for the growth of public libraries across North America. Other Carnegie libraries in the city include the Riverdale branch, which is still in operation.
Our building’s heritage designation reflects its significance in the history of Toronto’s libraries and in the cultural development of the city’s west end. We’ve preserved many of the original elements of the library. Our mainspace was the library’s reading room, and the original doors have been preserved in the Beaux Arts style — usually the first thing you see when you enter the mainspace, as they are directly across from the entrance.
About the Author Karthy Chin interned with The Theatre Centre through the Material Culture program at the University of Toronto. She is a theatre designer and director and intends to pursue a career in professional theatre.
Sources: “Public Notice-Heritage Land,” City of Toronto Statutory Notices (September 2012) “Off the Grid: Ghost City 1115 Queen Street West,” by Jamie Bradburn, JB’s Warehouse & Curio Emporium (August 2015) “Toronto’s Carnegie Libraries,” Toronto Public LIbrary (2016) “Ontario’s Carnegie Libraries,” Ontario Ministry of Tourism, Culture and Sport (December 2015) “Robert McCallum,” Biographical Dictionary of Architects in Canada Photo credit: Toronto Public Library
The Theatre Centre is excited to unveil the latest installation in our Café: Crystal Dream Homes by Amanda McCavour and Micah Adams, as part of SIDE STREETS, a year-round series of hanging installations in The Theatre Centre Café/Bar, created by the talented and local artists of City of Craft.
“This is a combination of two artist’s practices, a collage. We created a constructed reality. Suspended in space this is a low tech interpretation of a high tech digital model.” – Amanda McCavour and Micah Adams
Read our Q & A with Amanda and Micah below and check out their stunning Crystal Dream Homes in The Theatre Centre Café/Bar until May 2016.
Q: You each have your own well developed art practice, so how often do you get to collaborate?
Amanda: We don’t collaborate too often but this seemed like the perfect way to work together- a way to combine both of our interests into one project. Micah: she’s right and we don’t really get the opportunity, but it’s certainly refreshing to do something new once in a while.
Q: Where did the idea for the Crystal Dream Homes originate?
Amanda: We went to a dollhouse store and found these dollhouses for dollhouses which were so intriguing. Both of our practices have an interest in scale- Micah working quite small and I work on a 1 to 1 scale. These objects made in miniature for a dollhouse seemed intriguing and both of us wanted to incorporate these into something- we just didn’t know what. Micah: yeah that’s what happened.
Q: Favourite tool or material to work with?
Amanda: A sewing machine and thread. Micah: As a metal I like copper, I like how it ages, it develops a old soft leathery look, It’s great for making mystery faux antiques. I work with lots of different materials; coins, glass and ceramic things. That’s the fun part for me; finding new materials or even old used ones and seeing what they can do.
Q: What is your favourite colour? (nope…this isn’t a trick question. We really want to know).
Amanda: Green! No- Peach. I’m not sure. I love lots of colours. Micah: I think all colours are so beautiful…don’t make me choose! … However context is everything, there’s a perfect colour for any application it just depends on the variables involved. For this particular project we wanted to use string that seemed high-tech or science illustration so neon colors seemed a good fit.
Q: What’s your favourite thing about living in Toronto? Your neighbourhood?
Micah: Our neighbourhood actually feels like a neighbourhood, I’ve lived in 3 different areas of the city and where we are now has a little bit of everything and most of all, neighbours, neighbours we’ve gotten to know and would do favours for.
Q: What do you listen to while working in the studio?
Amanda: I like listening to podcasts. My favourite are the story based ones.
Micah: If I’m doing metal work or other noisy things, the music or background noise is less important because I don’t really hear it and I’m focused in a way that I don’t seem to notice the surroundings as much, the CBC might stay on all day. But if I’m doing a long, sit down task like drawing, I like long format things like books on tape, or the Boards of Canada.
Q: If you could collaborate with any artist (living or dead) who would it be and what would you make?
Micah: In the past, I’ve done involuntary collaborations with Norman Rockwell merchandise and Kim Adams… does that count? When no one was looking I photographed my tiny monuments amongst a Kim Adams installation.
Q: What’s up next for both of you? A project you’re particularly excited about? Places we can see your work?
Amanda: I have a few exhibitions up right now and I’m really excited about colour right now in my studio. Two of my large installations use brightly coloured thread to create “clouds” made out of thousands of sewn units. These installations are up at the Olin Art Gallery in PA and at the Taubman Museum of Art in Roanoke, VA. These installations utilize the same fluorescent threads that are in “Crystal Dream Homes”. The closest exhibition is in Toronto at the Textile Museum which opens in May. Micah: I have some private commissions to catch up on that will keep me busy till the end of the summer. You can always see my work at MKG127, I run an Etsy shop: MicahAdamsCo and I also keep a visual diary of works in progress on Instagram: @micahadams.ca _____________________________________
As an artist Micah is a collector of objects as much as he is a maker of objects. As a trained jeweler, Micah is a constant tinkerer on a fine scale. Adams received a BFA from the Nova Scotia College of Art and Design in Halifax. Upon Graduation in 2008, he pursued a three year residency in Toronto at Harbourfront Centre’s Metal/Jewellery studio. In 2013, he applied this jewellery experience at a printmaking residency at Toronto’s Open Studio. Where printmaking and jewellery merged, finely engraved coins resulted with cut coins being used as tiny printing plates. Also in 2013, during a residency at the Museum of Glass in Tacoma, Washington, he translated drawings into sculptures. This combination of work won the 2016 top award for Best in Festival during the Toronto Design Offsite Festival. Since 2004 his drawings have been held in the Pierogi Flat Files (New York) and he is represented by MKG127 (Toronto). He has received numerous grants from government agencies and has works in private as well as corporate collections. He currently lives and works in Toronto. @micahadams.ca
Amanda McCavour is a Toronto-based artist who works with stitch to create large-scale embroidered installations. She is interested in drawing. Thread is used in her work to explore connections to home and thread’s accumulative presence. McCavour holds a BFA from York University where she studied drawing and installation and has recently completed her MFA in Fibers and Material Studies at Tyler School of Art in Philadelphia, PA. McCavour shows her work in galleries nationally and internationally with recent solo exhibitions in Gatineau (QB), Williamsport (PA) and Vancouver (BC). She has received awards and scholarships from the Ontario Crafts Council, The Handweavers and Spinners Guild of America, The Ontario Crafts Council, The Ontario Society of Artists, The Surface Design Association and The Embroiderers Guild of America for her work. amandamccavour.com
Past Side Streets artists include: Ian Philips – Chipmunks on Ice Valerie Marchand – colourful glass feathers and succulent filled terrariums Kalpna Patel – Well-loved book sculptures
Did you know that we have a yellow locker full of books that could use some love? Have you ever noticed the sign on the brick wall of the hallway off the Theatre Centre cafe/bar?
FREE LIBRARY: “The history of the Theatre Centre building has its roots in research and education. The building was the original home of a Carnegie Library – a space for learning and contemplation that was free to the public ensuring knowledge was not exclusive. In keeping with the original purpose of the building The Theatre Centre has established a lending library. Peruse the catalogue. Take a seat and read a book. If you’d like to take a book home please replace with a donated book and aid in maintaining a catalogue of information sharing.”
In honour of our history as a Carnegie library (check out our blog post about the history of our building), our locker is officially joining the Little Free Library movement. Walking around the city, you might have noticed little tiny birdhouse-like structures where you can take, borrow, and leave books behind. This movement is based on the Carnegie model (isn’t that awesome); and free libraries can be found throughout the city.
Little Free Library, The Theatre Centre
A library’s role as a public space is provides access and space for individuals and communities to gather and learn. This is similar to our mandate as a meeting-place for people in the Parkdale community and Toronto. The history of the building is extremely important to us and as a cultural centre, we embody many similar values to the library that this building used to be.
Come by and feel free to peruse the shelves. Free free to sit in our cafe and read a book. If you take a book, we ask that you please leave a book (if you can!).
Sources: “Building Momentum for Little Free Libraries,” Publisher’s Weekly (Feb 2013) | “Little Free Libraries Around Toronto,” Apartment Therapy (July 2012) | Little Free Library | “When your neighbour’s yard is a library,” The Globe and Mail (December 2014)
Karthy is interning with The Theatre Centre through the material culture program at the University of Toronto. She is a theatre designer and director and intends to pursue a career in professional theatre.
You might have noticed that The Theatre Centre has become a little ‘chippier’ lately. That’s because we’re featuring Chipmunks on Ice by Ian Philips, as part of SIDE STREETS, a year-round series of hanging installations in The Theatre Centre Café/Bar, created by the talented and local artists of City of Craft.
This year, along with Kalpna Patel, Ian has designed and illustrated City of Craft’s highly sought-after poster and swag bag. He has a history of assisting other makers at the show, but this will be Ian’s third City of Craft with his own table of printed goodies. Don’t miss him at the show December 11-13th, here at The Theatre Centre!
Check out our Q & A with Ian below and check out his whimsical and cuddly collection of chipmunks, acorns, and pine cones – available for sale ($5 – $40) exclusively in The Theatre Centre Café/Bar until January, 2016.
Q: What is the most satisfying aspect of your work? A: The smell of fresh ink on a printed page. I like seeing the variety of expressions on people’s faces when they look at my stuff.
Q: Favourite thing you’ve ever designed/piece you’ve ever made? A: I think it must be the plinko carnival game board “Nutzo!” my partner Alexx Boisjoli and I made for the Come Up To My Room show at the Gladstone Hotel a few years ago. We gave away a tonne of porcelain and had so much fun performing as carnies!
Q: Celebrity you’d love to make/design for? What would it be? A: Do they have to be alive? I would love to design a stage set for Alfred Hitchcock. He’s on my mind because I am reading Peter Ackroyd’s new biography about him.
Q: Thoughts on this whole colouring book trend? A: It reminds me of Doodle Art from the 1970s. Doodle Art came in a cardboard tube, with a set of markers. I loved Doodle Art, so I guess the colouring books are okay.
Q: What’s next on the horizon for you? A: I recently acquired a mandolin and an accordion and I really want to learn how to play them.
Ian Phillips is an illustrator and book designer. He is also co-founder of the Holiday Arts Mail-order School, which will soon be celebrating the Class of 1937 Graduation Ceremony and Yearbook Launch. His small press, pas de chance, recently celebrated thirty years of publishing. Follow him on Instagram and check out his website ianphillipsillustration.com
Have you noticed the beautiful stained glass by Valerie Marchand in our Café/Bar? It’s part of SIDE STREETS a year-round series of hanging installations created by the talented and local artists of City of Craft. Check out this Q & A with Valerie and snag yourself one of her colourful glass feathers and succulent filled terrariums- available for sale until Sunday November 22nd, here at The Theatre Centre.
Q: Why do you do what you do?
I’ve always been making something and this is what I am making right now. I remember when my parents set up me and my sister’s first dedicated craft table (in the basement). It was amazing. We could paint, paper mache, whatever we wanted. So I have always had a desire and drive to make and have always been supported in it. I came to stained glass through my father who did a lot of work in stained glass when I was young. So I grew up with it. A few years ago I realized it was a medium I would like to try to make more contemporary. My father passed away unexpectedly shortly after so that has been motivation to continue with the craft for sure.
Q: Favourite piece you’ve ever made?
A small pyramid cloche I made when I first was learning to solder. It was sold but I think about it. I waver on letting go or trying to get it back.
Valerie Marchand, The Theatre Centre
Q: Favourite tool that you use in your work?
They are all actually kinda awful! Almost everything I use has the potential to cut, stab or burn me. I learned early to take breaks and to stay alert when working.
Q: What came first? Your love of plants or stained glass?
I would say plants. 5 year old me has a succulent named “Dolly Cactus” and I pulled leaves from her to propagate when she got too leggy.
Q: Succulents are HOT right now. What’s up with that?
I think they are popular for a few reasons. They are small and fit almost anywhere with light, are inexpensive and are relativity easy to care for. There are so many shapes and sizes available I think they speak to the collector in us. Also they are super cute.
Valerie Marchand, The Theatre Centre
Q: What is your idea of the perfect fall day?
Bright, sunny and warm and doing something a little out of the ordinary, Skipping class, leaving work early,… something. You only have so much time left before the long cold winter.
Q: What next on the horizon for you?
I have quite a few sales with Acorn Studio coming up for November and December, Including City of Craft at The Theatre Centre. Then in January 2016 my sister and I will be installing assemblage art work in a group show, Assembling New Realities at Quest Galley in Midland, Ontario.
Artist Valerie Marchand began working in the medium of stained glass a few years ago. Valerie decided early on to contemporize the craft, and Acorn Studio was born shortly after. She draws all of her own patterns and combines designs with aesthetic choices in colours that bring freshness to a traditional medium. Under the guise of Acorn Studio, Valerie makes two-dimensional art pieces as well as three-dimensional pieces that can be used for display or as terrariums. Inspired by geometric patterns as well as organic and fluid shapes, she creates unique window hangs and geometric terrariums that feature succulent arrangements.
On Wednesday, May 1st, workers across Ontario will stop working for one hour, in protest of the recent cuts in the Ontario budget. The Theatre Centre supports this effort and will cease operations from 12:00PM to 1:00PM.
Join us on the steps of The Theatre Centre in solidarity with the May 1st General Strike. We will be sharing books from our Little Free Library as well as serving a free lunch (a hearty vegetarian chili).
This is a chance for our community to come together for the Ontario we love!
May 1 12:00PM-1:00PM 1115 Queen St West Rain or shine
