“Searing Pain” solo exhibition by Akin Career Launcher Award Winner Haley Meyer at Remote Gallery

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Searing Pain, Haley Meyers’ first solo show, explores the relationship between transitional places and memory loss, using fleeting images taken while in transit to reflect how memories slip, fade, and blur over time. 


“Pain describes emotional and physical discomfort caused by an illness. Searing refers to the intensity of this pain; how sharply it can cut through your life, burning and impossible to ignore. In this case, Searing Pain represents the experience of living with memory loss caused by a long-term illness. It is not a singular moment, but a continuous ailment that replaces life's experiences with half-rendered, half-imposed versions of reality. 

The interior of a moving car, the windshield catching fractured lights, and the blurred landscapes of a passing world. These fleeting moments mimic the experience of living with memory loss; indistinct and unreachable memories that vanish as quickly as they appeared. Through painting, I confront this Searing Pain. Working from digital photographs taken from the passenger seat of a moving car, I preserve fading experiences, extending their lives through slow and deliberate reconstruction. Each painting houses a different memory; they are mnemonic tools used to hold what my memory cannot. Painting becomes an active resistance to memory loss, a means of holding onto what is on the verge of disappearing.”

- Haley Meyer

 

'Searing Pain'
Haley Meyer
October 2-5
Remote Gallery
568 Richmond St W

Opening Reception:
October 2nd, 6-9pm

Gallery Hours:
Friday October 3rd: 12-6 PM
Saturday October 4th: 12-6 PM
Sunday October 5th: 1-5 PM

Haley Meyer is an oil painter & printmaker based in Toronto. Her first solo show, Searing Pain, will be held at Remote Gallery from October 2nd to 5th, 2025. Haley has received three Career Launcher opportunities in association with OCAD University and was awarded the Arts & Letters Club of Toronto Foundation Ina Gilbert Visual Arts Award. She is a recent graduate from OCAD University’s Drawing & Painting program with a minor in Printmaking & Publications. 

Haley is a recipient of the Akin Career Launcher Award. The Akin Career Launcher Award is a career-support opportunity for graduating students in Drawing & Painting, Integrated Media, Indigenous Visual Studies, Cross-Disciplinary Art: Life Studies, and Sculpture & Installation at OCAD University. Offered in partnership with Akin, the award is facilitated by OCAD U’s RBC Centre for Emerging Artists & Designers.

haley-meyer.format.com | @haleymeyerart

“Close Your Eyes, Heal in a Parallel World” solo exhibition by Akin Career Launcher Award Winner Firouzeh Saremi Far at Remote Gallery

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“Close Your Eyes, Heal in a Parallel World” is a body of work exploring the relationship between the human spirit and the natural world. Rooted in moments of personal reflection, the series draws inspiration from the ephemeral transition before sunrise, when darkness surrenders to the soft, bluish light of dawn. This fleeting moment, filled with quiet promise and subtle transformation, becomes a portal: a threshold between stillness and movement, between hardship and renewal.

Standing in nature with my eyes closed, I feel its rhythms—the hush of rivers, the rustle of wind, the resilience of trees, the smell of damp earth and fallen leaves, the distant call of birds, the crackle of dry twigs beneath my feet, the flutter of wings just beyond my sight, and the purity of air—gently pulling me into alignment with something greater than myself. In this harmony of sound, scent, texture, and light, a sacred alignment begins to form within me. Nature, without effort or intention, invites me back to myself.

Through this work, I seek to capture the healing power that lies in these moments of connection. In a world increasingly marked by disconnection and pressure, I invite viewers to pause, to breathe, and to imagine a parallel world where nature offers refuge and restoration. Like a nurturing presence, nature embraces those who seek solace; not by erasing pain, but by holding space for transformation.”

- Firouzeh Saremi Far

 

'Close Your Eyes, Heal in a Parallel World'
Firouzeh Saremi Far
Sept. 20 & 21
Remote Gallery
568 Richmond St W

Opening Reception:
Sat., Sept. 20 5-8pm

Gallery Hours:
Sat., Sept. 20: 12 - 8pm
Sun., Sept. 21: 12 - 5pm

Firouzeh Saremi Far is is a visual artist based in Toronto, Canada. Her artistic practice is an ongoing exploration of the intersections between human experience and environmental influences, reflecting different themes of identity, transformation, and resilience. Drawing inspiration from the emotional intensity of Expressionism and the limitless forms of Abstract Art, her works seek to invoke a dialogue on human matters. Her goal is to create art that not only occupies space but also serves as a catalyst for reflection and engagement, encouraging viewers to consider their connection to the world and the impact of their presence within it.

Firouzeh is a recipient of the Akin Career Launcher Award. The Akin Career Launcher Award is a career-support opportunity for graduating students in Drawing & Painting, Integrated Media, Indigenous Visual Studies, Cross-Disciplinary Art: Life Studies, and Sculpture & Installation at OCAD University. Offered in partnership with Akin, the award is facilitated by OCAD U’s RBC Centre for Emerging Artists & Designers.

www.firouzehsaremifar.com | @firouzeh_saremifar

Meet the 2024 Career Launcher Award Winners in their Akin studios

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Image Description: Headshots of Shannon Sandwell and Meera Dinh. The text “2024 Akin Career Launcher Award Recipients”, the Akin and OCADU logos appear on the left hand side above a pink and blue background.

 

As our 2024 OCADU Career Launcher Award winners settle into their Akin studios, we caught up with them to learn a little more about them, and to see what they are working on. 

The Career Launcher award is a collaboration between OCADU and Akin, which gives two graduating OCAD students $2,000 towards Akin studio membership and $450 for a booking at Akin’s Remote Gallery.  This year's recipients of the award are Meera Dinh, who has moved into Akin Richmond-Bathurst, and Shannon Sandwell, settled into Akin Niagara. 

Shannon Sandwell 

Shannon Sandwell is a Canadian figurative painter based in Toronto. Their work focuses on community and connection intertwined with popular and sub-cultural imagery. Using a collage style of painting Shannon’s work creates narratives that exist out of regular time and space to emphasize platonic intimacy and the human desire to be close with one another.

 

Shannon Sandwell sits on a rolling chair in their studio. They have short blonde hair, tattoos and are wearing a white t-shirt and gray shorts with sandals. Behind them, large bright figurative paintings hang on the wall.

 


“I paint large-scale figurative works with acrylic. Collaging references from life and my communities with references from pop/subcultures to create new moments of connection that exist out of time and space while utilizing scale to defamiliarize these moments of platonic intimacy. The scale and cropping of the images in my paintings disorient the viewer- forcing them to engage and seek the connections within the compositions. This act of seeking allows the viewer to feel connected to the anonymous community before them. The collaging of images will enable me to work in complex compositions, steering away from the monolithic individual. I am searching for ways to bring visual sovereignty and joy to figurative work and seeking out ways in which humans seek connection with one another to survive.”

 

Several paintings of Shannons sit against the wall and hang above.

 

“I have been working on a collection of paintings for an upcoming show! It is smaller than most of my work, but I have enjoyed having the space to work on multiple 4' by 3' canvases simultaneously. The studio space to jump from painting to painting has been very helpful.”

 

Shannon Sandwell sits on a rolling chair in their studio. They have short blonde hair, tattoos and are wearing a white t-shirt and gray shorts with sandals. Behind them, large bright figurative paintings hang on the wall.

 

“I am very neurotic about using a fresh palette. I use only the primaries plus white and mixed while painting. This requires me to constantly reset and start fresh after my palette has gotten wild. Another ritual for my work is documenting community when I find myself in it. Constantly using my phone to take reference photos on the go. I am also asking consent of those in my communities that I end up photographing for paint reference.”

Find more of Shannon’s work here

Meera Dinh 

Meera Dinh is a Vietnamese artist based in Toronto who specializes in oil painting. Her work delves into the complexity of female identity, transforming personal and external experiences into dynamic compositions rich with intimacy, eroticism, and transformation.

She completed her Honours BFA in Drawing and Painting at OCAD University in 2024.

“My work explores the deep connection between the soul and the psychological challenges that come with being in a female body. I’m fascinated by how these forces shape identity and the constant struggle to understand my own nature. My oil paintings focus on capturing that in-between space—the line between the conscious and subconscious mind—by blending personal symbols, memories, and a touch of the erotic.

 

Meera Dinh sits on a chair inside her studio. Meera has long black hair and is wearing blue jeans and a black and brown floral tank top. Beside her is a large easel holding a circular canvas. Behind her are drawings posted to the walls. The large window in her studio looks out to a cityscape. Books rest on the windowsill.

 

I often pull from my subconscious, letting spontaneous ideas and images surface, which I then transform into visual stories. My work involves a lot of introspection as I explore themes like societal expectations, emotional vulnerability, and the absurdities we all face in life. Each painting feels like a moment of confrontation but also liberation, a chance to express emotions I’ve been holding onto.

Stylistically, I love combining figurative realism with surreal elements, allowing me to play with the boundaries between control and chaos. I use oil paints to build layers that reflect the complexity of these ideas. Lately, I’ve been incorporating themes of female identity merging with animal forms to symbolize primal instincts and transformation.

At the core, my art is very personal. It’s a space where I can reveal my own vulnerabilities and challenge societal norms, inviting viewers into an intimate conversation about identity and self-expression.” 

 

Meera Dinh sits on a chair inside her studio. Meera has long black hair and is wearing blue jeans and a black and brown floral tank top. Beside her is a large easel holding a circular canvas. Behind her are drawings posted to the walls. The large window in her studio looks out to a cityscape. Books rest on the windowsill.

 

“Since moving into my Akin Richmond-Bathurst studio, I feel incredibly fortunate to have found such an inspiring space. Located in the heart of Toronto’s most artistic area, the studio is everything I could have hoped for as a painter—housed in a charming brick building with serene views and surrounded by a vibrant community of talented artists. This environment has pushed my practice forward, allowing me to learn from others and grow in ways I hadn’t anticipated. It feels like the ultimate artist’s dream space, a sanctuary where creativity thrives.

This studio has given me the solid foundation to continue my artistic journey beyond graduation. It’s more than just a workspace; receiving this space has been a life-changing award. It’s given me the confidence that I’m on the right path and reminds me to keep going, no matter the challenges. The opportunity to work here has been a significant turning point, motivating me to push my work further and explore new directions.

I’m currently preparing for a group show at Remote Gallery with Ellie Hsu and Ariadna Mavila de la Rosa. Our exhibition, which will take place either later this year or early next year, explores the theme of female identity merging with animal forms. It’s a deeply personal project for me, and the space has given me the room to fully explore these ideas through oil painting, my primary medium. It has allowed me to experiment with new techniques and materials, bringing these concepts to life in ways I hadn’t imagined.

In addition to the upcoming show, I’ve also been applying for exhibitions and residencies. Thanks to this studio, I can develop new works and expand my portfolio in ways that will sustain my practice for years to come.”

 

Meera Dinh sits on a chair inside her studio. Meera has long black hair and is wearing blue jeans and a black and brown floral tank top. Beside her is a large easel holding a circular canvas. Behind her are drawings posted to the walls. The large window in her studio looks out to a cityscape. Books rest on the windowsill.

 


“My creative process often begins in brief moments of detachment, where I drift away from the present reality. During these times, vivid and symbolic images emerge deep within my subconscious—like seeing myself on a steak plate or catching a distorted reflection of myself in the mud at a TTC subway station. These metaphorical visions communicate with me in ways I don’t fully understand, but I can sense their emotional weight.

When these images surface, I instinctively sketch them in my notebook without overthinking, almost like a child doodling. After this initial sketching, I take photos of myself as a reference for the paintings, using my own body to capture the forms and poses I want to explore further. At this stage, I feel the intensity of the images, though their meaning is still elusive. From there, I move into painting, which allows me to spend long periods with these images, slowly unravelling their deeper significance. Immersing myself in the painting process—often for hours—I engage with the forms I’ve created until their meaning becomes clearer. Along the way, I also research the themes and symbols that arise, drawing from journaling, music, poetry, philosophy, and literature that delve into the space between conscious thought and intuition. Inspiration often strikes when I’m in this liminal space, exploring and observing the images as they evolve. Through this process, my art starts to reveal naked truths I often hide behind the everyday roles and performances of life. In many ways, my art understands me better than I understand myself, and through it, I discover deeper layers of my identity.

Additionally, my cats, Bob and Moxie, are a huge motivation source for me. I always keep their picture in my studio; whenever I feel down or exhausted, looking at them lifts my spirits and reminds me to keep going.” 

Find more of Meera’s work here