Torin Craig’s Installation comes to the Akin Vitrine Gallery

Akin Vitrine Gallery
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This fall, Torin Craig will be exhibiting new work at the Akin Vitrine Gallery. Visible from the street, the work invites passersby to experience the work 24/7. On view now until the end of October at 1747 St. Clair Ave. W., stop by and take a look!

Torin Craig is an artist and musician working in Toronto. The installation features the painting "electric love monument overlooks the drop", as well as the original sketch which formed the cover art for the band Pretty's latest album, "Where You'll Be When the World is Gone". 

We caught up with Torin to learn more about the exhibition, his inspirations and process. 

“This exhibition is showing two pretty different types of work, both which share the common themes of play, experimentation, and automatism. The first is an oil painting on wood panel, the second is a pen and paper sketch. Both were made through a process of spontaneous composition, where I would just begin painting/drawing and see what happened/how the piece developed. In the case of the painting, it was process of creating a first layer of shapes and colour, then working it up in layers, discovering the final image based on what the first layer suggested to me. The drawing was very much the same process, but more immediate, where one mark/image would imply another and I just allowed it to progress based on what felt right. This drawing was edited and used as the cover artwork for my band's latest album (which you can listen to online, or preorder a vinyl of!) We also have a release show happening October 9th at Sound Garage.” 

 
 
 
 

Akin: What are you curious about right now? 

Torin Craig: “Mostly I'm thinking about what sort of art I want to be making going forward. I've been so busy with work and music that I haven't had much time to make visual art, so I'm curious to see what sort of things I'll be making when I get back into a regular practice. Much of my work lately has been commission based with strict parameters, or was part of my MFA work (which was based on sound and installation), so I'd really just like to get to know myself as a visual artist again, free from my past visual tropes/motifs.” 

 


Akin: Do you have studio routines or rituals? What gets you in a creative mood? 

TC: “When I'm working on a piece I always like to begin the studio session by cleaning my palette for the day, and getting some sort of drink to sip on while I work (coffee, something stronger... really depends on the time of day and how I'm feeling). Otherwise, I pretty much just listen to music (sometimes podcasts) the whole time and let myself get lost in the work. The bulk of my studio time is spent completing projects, where the creative heavy lifting (composing the image, deciding what to paint) has already been done, so it's really just like any other job where you clock in and do the work. The more creative side where I come up with what I'd like to paint, or do some improvisation on the panel, is much more complicated. That part is the hardest to start, as I'm usually either waiting for inspiration to strike or finding ways to make it come. This is the phase where time spent doesn't matter, if I'm in the right mood I can get something done in an hour that would take a week or two in the wrong headspace. The main thing I find, whether it's coming up with a painting or writing a song, is that I need mental space and time to just mess around. It can take an hour of doing not much of anything before the properly creative mood kicks in.” 



Akin: What inspires you? Why? 

TC: “This really changes day to day, project to project. It also separates into form and content. I'll see or hear something that connects directly to me in the way that it's made (visual rendering style, musical production choices) and I'll want to learn as much as I can about it in the hope of expanding my own technical approaches. When it comes to what those techniques are used to express, it really just stems from whatever I'm into at the time and what's going on around me. My music as of late has revolved around some pretty apocalyptic themes... go figure. Visually though, I'm currently in a search for inspiration and am looking forward to seeing what form that catalyst will take.” 



Find more of Torin’s work here: 

torincraig.format.com

prettytheband.com

@paisleyrobeforthegoldenglobe

@prettytheband

 
 

Akin Richmond-Portland is Coming Soon!

AKin Richmond-Portland
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We’re excited to share that Akin is opening a new location, Akin Richmond-Portland, at 555 Richmond Street West!

This new studio location will include a mix of private studios, dedicated studios, and shared memberships. Akin Richmond-Portland is located in two units on the tenth floor of 555 Richmond Street West, with lots of large windows and natural light, step-free elevator access, and a wide range of studio sizes. 

If you’re interested in this new space, please reach out to info@akincollective.com to be added to the waiting list. Once the studio is ready for tours, we’ll reach out to you and set up a time for you to come take a look.

We can’t wait to show you around our new studios! 

 
 

Tenfold, Akin Dupont’s 10 Year Anniversary Exhibition

Remote Gallery
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Tenfold, Akin Dupont’s 10 Year Anniversary Exhibition
Remote Gallery, 568 Richmond St W

Opening Night Reception:
Thurs Oct 8: 6-9pm

Gallery Hours:
Fri Oct 9: 4-8pm
Sat Oct 10: 1-5pm

This year, Akin Dupont celebrates its tenth anniversary. To mark this milestone, Akin Dupont artists are bringing their work together in a collective exhibition, Tenfold, which will take place at Remote Gallery from October 8-10th. 

Tenfold speaks both to this ten year journey and to the many ways creativity expands when developed collectively. It evokes layers unfolding through time—individual practices, stories, inspirations, and relationships woven together within a shared space.

While each artist explores distinct questions through their own techniques and visual language, Tenfold highlights the dialogues, affinities, and contrasts that emerge between their practices. Individual voices remain visible, while their shared experiences reveal the rich sense of exchange fostered within the Akin studio community.

More than a thematic exhibition, Tenfold presents an interwoven collection of artistic expressions that coexist, intersect, and strengthen one another. We invite you to experience this vibrant multiplicity and celebrate its value to artists, communities, and society.

Here’s to the next ten years!

Some works are available for purchase,
please contact the aritists directly for more information.

Participating Artists

 

Coming from a sculptural background, Kobayashi is interested in the balance between form and surface design. She predominantly builds using the coiling or slab method, working in both stoneware and porcelain clay. Her process is highly experimental, with much of her time devoted to testing glazing techniques and the movement of colour across a surface. Through this repeated experimentation, she explores how pigments bleed and compete, allowing the unpredictable behaviour of the glaze and the structural form to dictate the final work.

Kobayashi recently completed the FUSION Mentorship Program under Toronto-based artist Julie Moon, marking the beginning of a dedicated new chapter in her ceramic practice.

@a.t.k.studio

 

Barbara Bailey based these early 2026 acrylic paintings on her colourful collages, referencing fairy tales, fruit and fabrics. Currently she creates larger works, capturing light effects on autobiographical imagery.

@redsetterstudio

Bernadette graduated from the Ontario College of Art in 1996 from the Drawing and Painting Department. She studied in Florence, Italy for one year with OCA where she developed a keen interest in art history and the aesthetics of renaissance and baroque paintings. She worked in theatre for over 10 years previous to art college as a designer of costumes, sets and props and brings these influences into her work. Drawing and Painting are her main areas of interest but she has also explored themes through installation and 3D Shadow Boxes over the past 35 years of her practice. She is interested in process and experimentation as a means to discover more about her subjects and themes.

The depiction of nature and certain socio-political themes have been the main focus of her work. She moves between working with the human figure, the landscape and objects over various media including oil and acrylic painting, drawing, shadow boxes and installations. The piece in this exhibit entitled “ Splayed Bodice” from 2002 is from a series called “Body Count” in which she explored how women have transformed their bodies to conform to societal ideals of beauty to the point of pain and mutilation. The more recent landscape with neon plexiglass is part of a series that explores how we have contributed to the shifts in temperature and the declining health of the planet. The neon layers obscure and transform the colors and natural appearance of the landscapes beneath resulting in an other worldly affect.

@b_peetsart


Bettina Westwood explores the unstable relationship between memory, imagination, and lived experience. She is interested in how memories are constructed and reconstructed over time, and how easily what we remember can become intertwined with what we imagine, assume, or encounter later.

A photograph appears to preserve a moment, while an object can seem to offer physical proof that something existed. Yet neither can tell us the complete story. We instinctively fill the gaps, constructing narratives from incomplete information. Over time, these constructions can become indistinguishable from memory itself.

Material and process also play an important role in her work. Breakage, distortion, chance, and imperfection can shift the meaning of an object and become part of its history rather than something to conceal.

Her work exists somewhere between representation and abstraction, familiarity and uncertainty. Rather than attempting to recover the past accurately, Westwood is interested in the stories that emerge when memory begins to loosen its connection to fact.

@bettinawestwood

Beverley Rosenberg is a Toronto-based artist who creates original paintings and drawings that explore human emotions, internal landscapes, and relationship dynamics. 

Her works have childlike appearances, and are multi-layered and complex. While simple on the surface, they contain vibrant, sometimes intense emotional undertones, inspiring visceral experiences for the viewer. Taking a sketchbook wherever she goes, her work is a direct response to the environment and the information discovered there. Raw and uncontrived, she produces highly authentic expressions that grab viewers and introduce new perspectives. Her passion for understanding people, what makes them tick, and the everyday experiences of life, inform and inspire her work. 

Beverley’s chosen medium of expression is acrylics, inks and pastels, which she applies to canvas, paper and wood.  Beverley’s work has appeared in group exhibitions, such as the L.L. Contemporary Art Gallery (Richmond Hill, CA), Toronto Outdoor Art Exhibition, Norman Felix Gallery, where her work has gained an enthusiastic following. Beverley received the Telford Fenton Memorial Award at TOAF. 

@beverleyrosenbergart

I am a contemporary artist based in Toronto and a former student of fine art at OCAD University. Through textural landscapes and hazy compositions, I create abstract expressionist pieces that reflect my longing for a deeper connection to my surroundings and to the experiences that have shaped my world. My paintings share an earthy quality with an underlying vibrancy, with each piece possessing atmospheric compositions and textural layers brought to life through a mix of acrylics, plaster and pastels.

My aesthetic is strongly inspired by my early years growing up in South Africa which is evident in my use of earthy tones mixed with pops of colour. The raw textural layers of my pieces reflect the rugged, untamed beauty of the African landscape, while the local plant life, textiles and street art have heavily influenced my subject matter and overall aesthetic. I seek to explore contrasts in my work, where calm brushstrokes meet the chaos of pencil lines, and vibrant colours connect with muted tones to create balance and quiet tension within each piece. The layers of plaster, pencil markings and slow drips of paint built into my work allow me and my audience to take a slower pace in order to explore the intricate details and quiet tension within each painting.

@roadside.studio

 

Eli Moser is a painter, neuroscientist, and ceramicist. He was born in Salt Lake City, Utah, but was grew up in the rivers and lakes of southwestern Ontario. His work focuses on figurative surrealism and attempts to understand the absurd and complex experience of existing within a human body. He is influenced by his research background, and gravitates towards themes of perception, facial recognition, and sleep science. He primarily works in acrylic, graphite, and watercolour pigments on canvas, board, and anything else he can get his hands on.

@elhamos

Hamid Mohammadi is an artist residing in Toronto. Hamid creates artwork that is optimistic, shows movement, community and happiness. Through subjects including people of all shapes and sizes shown in a universal way Hamid seeks to make the viewer feel as though they are represented, seen, and part of the fun shown in the images he draws. Hamid creates artwork which explores the relationships of people to themselves, to others, and their environment. Through figures, gestures and forms developed and communicated through his work Hamid captures the essence of movement, form and meaning which involves the viewer. Body language is universal so there is an interpretation which is immediate and widely understood. The figures in Hamid’s work communicate a sense of joy, warmth, calmness and contemplation. The interrelationships in a group image start to multiply and provide endless interpretations. Hamid’s art aims to be broadly relevant and touch on core universal aspects of positive human emotions, as well as joyful behaviour and actions. The artwork he produces is optimistic and uplifting with room for interpretation and sparking of further discussions. The forms presented become a vehicle for further discussions. Hamid has a background in art, architecture and design. He uses the knowledge and viewpoints of these disciplines to inform his work.

@hamidxvi

Born and raised in South Africa, Loren Kaplan has worked as a ceramic artist and teacher since the mid-1990s. In 2013, she relocated to Toronto, where she continues to live and work.

Kaplan’s practice explores the relationship between form, function, material, and meaning. Working primarily with porcelain and basalt clay, she creates vessels and sculptural forms that bring together symbolic, visual, tactile, and spiritual elements through pattern, texture, light, and repetition.

Her work is created through a combination of wheel throwing, coiling, and hand-building. Surfaces are carved, sculpted, pierced, slip-trailed, and engraved with intricate patterns that move between the geometric and the organic. In her porcelain lighting, these patterns become openings through which light can pass, transforming the object and allowing pattern, shadow, and illumination to extend beyond the ceramic form itself. She is drawn to contrasts and the challenge of holding seemingly opposing qualities in balance: white porcelain and black basalt clay, open and enclosed forms, the delicate and the substantial, the small and the monumental. Across these differences, the work carries traces of the slow, meditative process of making—the accumulation of time, repetition, concentration, and attention to detail.

The vessel remains central to her practice because she is interested in containers as spaces of potential. Her focus is on the space in between, defined spaces of emptiness making room for something to be held.

@lorenkaplan

 

Mark Buck is a former Toronto born gallery owner & teacher with over 40 years art experience. Mark's been a member at Akin Dupont since 2016. His Mondragam’s combines the Bauhaus Colour & Shape theory with Agam’s kinetic design. His “woven” Paperworks combines monoprints into contemporary artwork. All Mark Buck Artwork: Acrylics, Mondragams, and Paperworks are available for purchase.

www.markbuck.art

 

Ingrassia’s practice explores contemporary masculinity and the contradictions within its performance; how emotions and actions like tenderness, aggression, desire, and shame coexist beneath inherited cultural norms. Through large-scale figurative oil painting, Ingrassia examines the social and emotional terrain of young men navigating identity and intimacy inside a cultural framework that often seeks to deny emotional fluency. His works seek to articulate the instability of masculine performance, revealing moments where vulnerability reaches the surface. These works aim to straddle the line between queer and heteronormative expressions of masculinity. They occupy a liminal, essentially bisexual space, one that resists clear categorization and instead embraces tension, ambiguity, and fluidity.

@milesingrassia

 

MP Guillot is a multidisciplinary artist from Quebec based in Toronto. Ceramics has become her playground for creative intuition, where her process exists at the intersection of knowing and letting go, listening for what wants to be created. Working with soft clay slabs bent and fused together with a sewing inspired approach, she assists the material in defying gravity, transforming it into fluid forms that seem to belong elsewhere. Living with colour synesthesia, MP uses colour as a language of its own. Her works emerge like messages expressed through colour, translating experiences that exist beyond words.

@mp__guillot

My work explores Open Time, the expansive, unscheduled periods of childhood when time seemed to belong entirely to us. I return to memories of days shaped less by plans or obligations than by curiosity, play, friendship, adventure, and discovery.

These experiences form the starting point for my paintings, but I am not interested in reconstructing memory literally. Instead, I explore how memory changes over time, how places, people, sensations, and emotions become fragmented, intensified, or transformed. Through drawing, watercolour, and large-scale mixed-media painting, I move between observation and recollection, translating remembered experiences through colour, gesture, texture, atmosphere, and imagined space.

At the centre of Open Time is the idea that creativity emerges when time is not completely prescribed. In childhood, ordinary surroundings could become territories for adventure, while simple encounters could develop into lasting experiences. Imagination and curiosity were allowed to determine what came next. In adulthood, these experiences become longing.

Through this body of work, I seek to recover that sense of openness and possibility. The paintings reflect on what emerges when we are free to wander, become absorbed, follow curiosity, and experience time on our own terms. Open Time is ultimately an exploration of freedom, memory, and the creative possibilities found within unscheduled time.

@robertsimoniart

 

Shayla Bond is a Canadian fibre artist whose work explores the intersection of textile, design, and domestic space. Rooted in the preservation of heritage craft techniques, her practice reconsiders quilting as both an artistic medium and a functional object within contemporary interiors.

@byshaylabond

 

Tatjana Reithofer is a multidisciplinary artist and based in Etobicoke, Ontario. She spent the majority of her youth growing up in Puebla, Mexico and finally moved back to Canada in 2013 which has influenced her practice. Using textile crafts both handmade and repurposed, Tatjana’s practice grapples with questions of cultural belonging, right to heritage, identity and her impact as a white settler on culture. She graduated from OCAD University’s Sculpture and Installation program in 2020.

@tatjana_anandamaya

 

Veronica Z.M. is a multidisciplinary artist working across mediums that include painting, drawing, ceramics and digital experiments. Veronica’s work often centers themes of grief, memories, nature and mythology.

ateliercassis.net

Curated By

Renato Baldin is a Toronto-based multidisciplinary artist, activist, and curator. His current work focuses on immersive art installations reflecting his immigrant and queer perspective. 

A recipient of the Newcomer Mentorship Grant from TAC in 2022 and Aluna’s Digital Lab Residency in 2023. His recent art works includes the exhibitions and installations Fluids (2024), Queerleidoscope (2023), Narcissus (2023), Non-Exhibition (2022), Rocking Futures (2021), and The Empathy Museum: Walking in your shoes (2017). 

As well, Renato designed the set and costume for the plays Kill Your Father (2026), Public Enemy (2025), The Rage of Narcissus (2022), and curated the exhibition A Country of a Thousand Colours for Caminos Festival (2022).

@renato.baldin

 
 
Remote Gallery Detailed Accessibility Information
 

Remote Gallery, 568 Richmond St W

 

Shayla Bond's reflections at the Akin x Salmon River Studios Residency

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We sat down with Akin Dupont member Shayla Bond (@byshaylabond) to talk about her experience during the August residency as the first recipient of the Akin x Salmon River Studios Residency.

 

Akin: What were you working on during the residency? 

Shayla Bond: During my residency I worked on an intimate natural dye and memory project rooted in place, relearning natural dying through a reflective approach. I spent time walking the property and responsibly gathering plant materials and fallen matter that connected me to memories of Maus Park, my in-laws’ former 12 acre property near the Grand River in Paris, Ontario, a place that became deeply important to me over the past decade.

Rather than trying to recreate Maus Park, I was interested in exploring how a place can continue to live through memory, colour, and observation. I translated what I gathered into natural colour on cotton and linen, documenting each dye through technical notes, photographs, and written memories. The result became a swatch journal, an archive of relationships between plant, gathering site, colour, memory, atmosphere, and place. 

The residency finished with an artist talk where I shared the project and introduced the basics of natural dyeing. We then walked the Salmon River property together, stopping at places where dyestuffs had been gathered or where the landscape made me reflect of memories of Maus Park. At each stop, I read excerpts from my dye journal. Sharing those personal connections in the places where the colours originated became a particularly meaningful way to bring the project full circle and felt quite intimate. 

 
 

Akin: Did being away from your usual studio environment change how you worked?

SB: Yes, absolutely. I brought only the basic equipment and materials I needed and nothing more. In my usual studio, I’m surrounded, and sometimes inundated, by projects and works in progress.

The barn studio was so open and spacious, with these beautiful high ceilings. Having only the task at hand to focus on made me incredibly productive. I accomplished more dye tests than I had originally planned and found that I was able to take in and retain what I was learning more deeply. And the sound of the rain on the roof, wow!

 

Akin: What was your favourite part of your time at the residency/How did having dedicated time and space to work affect your practice?

SB: My favourite part was having dedicated time to let go of everything else and focus on a project that continuously gets pushed aside in favour of client work and commissions. That, combined with being immersed in nature and pretty off-grid, was truly restorative. It felt like the first time my cortisol levels had lowered in a while!

Eco-glamping is just comfortable enough that you still have your creature comforts, while keeping you really connected to nature. That side of the experience almost forces you to slow down, fully immerse yourself in the process, and let go of the distractions of daily life.

I had actually taken a week of vacation only two weeks before the residency, but it was nowhere near as restorative as this trip. So, I’d have to say my favourite part was the overall feeling of relaxation and having this little pocket of time away from the daily hustle and bustle, and to get back to play and exploration.

 

Akin: Did you develop any new techniques or ideas that you plan to continue exploring?

SB: During the residency, I returned to natural dyeing for the first time in 12 years. It gave me the chance to relearn the process, experiment with materials, and reconnect with techniques I’ve wanted to bring into my current practice for a long time.

Moving forward, I want to incorporate more naturally dyed materials into my quilting and textile work. I’m interested in gradually moving the beginning of my creative process further back, not just working with the fabric, but creating the colour itself.

 

Akin: Was there a particular moment, discovery, or day that stands out to you?

SB: The property is 52 acres, so there was a lot of land to walk and explore. When reading about the ethical harvesting of natural dyestuffs, I came across the philosophy, “Ask the plant for permission before harvesting, you will feel the answer.”

I really appreciated the idea and sentiment behind it. When I was gathering goldenrod from the eastern fields, I decided to ask the plant for permission, and I felt good about harvesting it. Later, when I went to gather goldenrod from the western fields, it just didn’t feel right, so I left it.

In that moment, I felt like I had formed an emotional bond with the land I was staying on. It felt quite profound to share that experience during my artist talk, and people really responded to it. I also read personal excerpts from the swatch and memory journal I created during the residency. Sharing those reflections felt very open, vulnerable, and beautiful.

Akin: What advice would you give to another Akin member considering a residency at Salmon River Studios, including what they should bring and anything you wish you had known before arriving?

SB: I was the first artist-in-residence at Salmon River Studios, so I walked into the experience somewhat blind. They had also basically finished building the space the day I arrived, but amazingly, I never would have known! They did such an incredible job putting everything together and had thought of pretty much every detail.

Because the residency is still new and the accommodations are eco-glamping, I’d suggest reaching out to the hosts, Gabe and Ashley, ahead of time about any equipment or technical needs. Do you need outlets? How much power will your equipment require? Is reliable Wi-Fi mandatory for your project? Having those conversations in advance will help make sure what you want to accomplish is feasible. It also shows that you’re arriving with intention and have really thought about what you want to work on! Also, be aware it's outhouse only if that's not your thing!

I’d also recommend planning your meals and groceries ahead of time, bringing extra art supplies, and packing clothing, footwear, and swimwear for spending time outdoors. It can get cold and damp at night. Also, I love bringing my own pillow lol

Click here for more information about the Akin x Salmon River Studios Residency

Read more about Salmon River Studios Artist Residencies here

Victor Wei’s mind-bending art on now at the Akin Vitrine Gallery

Akin Vitrint Gallery
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Victor Wei (@victorsywei)

 

This summer, the Akin Vitrine Gallery presents a new installation by artist Victor Wei (@victorsywei). Visible from the street, the work invites passersbys to witness the paintings 24/7. On view from August 1 to September 27 at 1747 St. Clair Ave. W. Be sure to check it out! 

Victor SY Wei is a Akin Richmond-Bathurst member who works primarily in acrylic paint and has a background in 3D/Visual effects. Their installation runs from August 1st to Sep 27th. These pieces are based on his recent works in the last year exploring geometric shapes that speak about other dimensions. 

We caught up with Victor to learn more about his exhibition and art practice.

 

Victor Wei’s Akin Richmond-Bathurst studio. Image credit: Marilyn Braun @braun_marilyn

 

Akin: What are you curious about right now? 

Victor Wei: “I’m curious about where the world is heading. It seems like we are having very big shifts in the world with the duality of progression in tech and human consciousness. I’m interested in incorporating more of my 3D background into paintings and visual installations.”

 

Akin: Tell us a bit about your Vitrine Exhibition (e.g. themes, materials, inspiration)  

VW: “This installation looks to illustrate the 4th and 5th dimensions. The primary focus is the paintings which acts as a map or maze that represents a segment in time frozen in place; and all the possibilities within it. The additional elements are expansions of the painting looking to explore the organic/geometric separately but ties as an installation like the painting. The geometric shapes represent possible outcomes like destinations. The lines act as routes that can be taken, and the organic form represents the conscious being inhabiting and exploring the space.”

 
 

Akin: Do you have studio routines or rituals? What gets you in a creative mood? 

VW: “I normally paint at night after work. Usually zoning out to some indie music or podcast while sipping on some tea. And sometimes just stare at a canvas for a while till the shapes and lines start speaking to me.”

 

Akin: What inspires you? Why? 

VW: “Artists, such as M.C Escher, Victor Vasarely have been big inspirations. I love the way their art changes our perceptions and messes with our heads. The incorporation of math into art has also been very fascinating to me. The architecture of the city also has played a big part in my practice. I find that Toronto has a good range and variety of architecture. Their unique shapes and design gives me a lot of creative ideas. I am also quite drawn to 90/2000s sci-fi aesthetics. The nostalgia provides many inspirations for the organic characters/colour choices and composition of the paintings.”

Akin: What does your Akin studio mean to you? What brought you to Akin? 

VW: “Akin has provided me a space separate from work and everything else that goes in my life. It's grounded me in a safe haven where I feel comfortable to explore these worlds in my imagination. I joined Akin after hearing about it through word of mouth from many local artists/friends/teachers and after attending Crit night and making some friends at the open house. I've always loved the vibe of people I met who already had a studio there, so it was a no-brainer for me when I needed a space.”

 

Akin: What advice would you tell your younger self about creating art? What have you learned? 

VW: “Make art for yourself and keep painting without the fear of judgement. Look at more art and learn about other people's practice. Find a good mentor, or mentors! I've found that in my earlier years I never committed enough to making my own art. Most of it, I've stopped after making a couple pieces in the same series. Part of it was not believing in myself fully and worrying about whether people will like my art. I've only more recently learned to fully create for myself. 

Learn more about Victor’s work @victorsywei

Akin VItrine Gallery, 1747 St. Clair Ave. W.

 

'Breakthrough' by Firouzeh Saremi Far coming to Remote Gallery

Remote Gallery
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This August, Remote Gallery will be hosting an exciting new exhibition by Akin Career Launcher recipient and OCADU graduate, Firouzeh Saremi Far. The exhibition, Breakthrough, will run August 15th & 16th from 1-8pm, at 568 Richmond St W. 

Breakthrough is a series of sculptural installations inspired by the quiet resilience of small plants that push through asphalt, fracturing hard surfaces as they grow toward light. Often unnoticed, these fragile forms embody persistence without spectacle. They became the central metaphor for this body of work: a quiet act of resistance and an enduring belief in growth despite pressure. Rather than presenting resilience as a final victory, Breakthrough understands it as an ongoing process: a continuous act of becoming. Breakthrough is a reminder that even the smallest act of continuing can become a powerful form of resistance.

Firouzeh Saremi Far (@firouzeh_saremifar) is a Toronto-based visual artist working across sculpture, installation, painting, and mixed media. Her practice explores the relationship between human experience and the natural world, examining themes of resilience, transformation, and hope. Through a material-driven process, she creates immersive works that translate emotional and environmental narratives into sculptural forms. Inspired by the quiet persistence of nature and the human capacity to overcome adversity, her work invites viewers to reflect on growth, adaptation, and the enduring search for light in times of uncertainty.

The Akin Career Launcher 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. The award has been given annually since 2016.



Thank you for joining our Remote Gallery Summer Market and Exhibition!

remote gallery
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Thank you to everyone who joined us on Saturday, July 18, for the Remote Gallery Summer Market and Exhibition!

This event marked our second Akin Member Summer Market and was a wonderful opportunity to showcase the work of our talented members.

All photos from the event featured in this post were captured by our talented summer intern, Marilyn Braun (@braun_marilyn), a fourth-year photography student at Sheridan College.

Thanks again to all that participated:

Photos: Marilyn Braun (@braun_marilyn)

 

Congratulations to Michael Donohue, Recipient of TOAF's Akin Space Award!

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Image credit: Marylin Braun, @braun_marilyn

 

Congratulations to Michael Donohue, Recipient of TOAF's Akin Space Award!

Michael (Mike) Donohue is a fibre artist reinterpreting the traditional techniques of crochet that he first learned as a child through the use of self-taught, freeform crochet.

Michael has a life-long passion for arts andcrafts, building and creating. He continued to study “fine art” and art history through higher education, practicing painting as a hobbyist.

 

Michael Donohue, Bright Iris, 2025. Wool, crochet. 100x100cm

 

During the COVID-19 pandemic lockdowns in Toronto his practice undertook a transformation. Combining the crochet skills he first learned as a child from his grandma with his interest in more traditional “fine art” stylistic sensibilities, his fibre art practice was born.

Michael’s work is a meditation on how we experience and interact with the environment around us, and our connection to and impacts on natural environments. His work invites the viewer to slow down, enjoy the subtle beauty, reflect. His work is both metaphor and a love letter to the world around us, expressing the joy to be found in nature.

 

Michael Donohue, Poppies, 2024. Cotton, crochet, with felt backing. 135x80cm

 

His use of freeform crochet is a continually evolving and growing, organic process – each stitch is a breath of life into his creations. In addition, he works exclusively in natural fibres, in furtherance of his chosen subject matter.

Michael’s love for crochet continues to be shared through the teaching of workshops and classes, community engagement, and exhibition.

Michael’s booth at TOAF 2026. Image credit: Marylin Braun, @braun_marilyn

The TOAF, Akin Space Award is designed, in collaboration with the Toronto Outdoor Art Fair (TOAF), to support emerging artists in Toronto by providing access to creative workspace and/or exhibition space.

Michael is the recipient of an $1,000 credit applicable toward:

  • an Akin studio membership (shared or dedicated) at any Akin location

  • a Remote Gallery rental

  • or a combination of both

Michael is currently focused on creating new pieces for his first exhibition at the Cabbagetown Arts & Crafts Show, taking place September 11–13, 2026. Following the exhibition, Michael will decide how he would like to use the Akin Space Award.

See more of Micheals work on the TOAF website, Michael’s personal webpage and follow him on Instagram @mdvassal

We also want to extend a BIG thank you to all of the TOAF staff, volunteers, and jury members, as well as our juror, Akin’s Remote Gallery Manager, Renato Baldin!

Grant Writing Session with Peter Kingstone

Remote Gallery
 
 

Date: Wednesday, August 5, 6:00–8:00 PM
Location: Remote Gallery, Gallery A (568 Richmond St W)
Free event — limited to 12 participants

After a fantastic first grant writing workshop earlier this year, we're excited to welcome Peter Kingstone back for a second collaborative grant writing session focused on the Toronto Arts Council (TAC) Visual Arts Creation Grant.

This workshop is designed as a hands-on peer review session where participants will receive detailed feedback from Peter and learn from one another's applications in a supportive, welcoming environment. Whether you attended the first workshop or are joining us for the first time, this is an excellent opportunity to strengthen your grant application before submitting.

 

Important Information

Please note that this workshop is exclusively focused on the Toronto Arts Council Visual Arts Creation Grant. If you are seeking feedback on another grant program, this session will not cover those applications, and they will not be discussed.

To ensure everyone receives meaningful feedback, participants must have their draft proposal saved in the TAC portal before the workshop. Having drafts in advance allows Peter to review them beforehand and provide more thoughtful, comprehensive feedback during the session. It also allows proposals to be displayed during the workshop, making the discussion more accessible for both visual and auditory learners.

During the session, each participant's proposal will be read aloud and workshopped by the group. This collaborative format allows everyone to ask questions, share ideas, and learn from a variety of applications in a warm, respectful, and non-judgmental environment. If you're uncomfortable reading your own proposal aloud, that's absolutely fine—an Akin staff member will happily read it on your behalf. You can let us know in advance or simply request this during the workshop.

 

About the Toronto Arts Council Visual Arts Creation Grant

The Toronto Arts Council Visual Arts Creation Grant supports individual visual artists in the creation of new work, including drawing, painting, photography, printmaking, sculpture, mixed media, and installation. The grant has a rolling deadline, allowing artists to apply throughout the year.

For more details and full eligibility, visit the TAC website.

If you haven't already registered with the Toronto Arts Council, you'll need to create an account through the TAC Grants Portal before applying. Registration is free and only takes a few minutes. We recommend completing this step early so you have time to review the application requirements and begin preparing your proposal.

 

Who Should Attend

This workshop is ideal for:

  • Visual artists preparing an application for the Toronto Arts Council Visual Arts Creation Grant.

  • Artists at any stage of the grant writing process, whether you're applying for the first time or have previous experience.

  • Artists interested in receiving constructive feedback and learning through peer discussion.

Attendance is limited to 12 participants to ensure everyone has time to receive meaningful feedback.

Register Here

Accessibility
Remote Gallery is on street level with step-free access and the entrance doors are 37" wide. The doors are automated by a push button system. There is step-free access throughout the gallery space. There are two gender-neutral washrooms both with step-free access. The washroom doors are not automated, the door knobs are round, and the toilets are not raised. For more information about Remote Gallery, click here.

About Peter Kingstone
Peter Kingstone is a Toronto-based visual artist and curator, working primarily in video and photography. As an independent artist, Peter’s installation pieces have been shown across Canada and internationally, and he was awarded the Untitled Artist Award in 2005 for his installation The Strange Case of peter K. (1974–2004). Peter holds a degree in Philosophy/Cultural Studies from Trent University in Peterborough and a Master of Fine Art focusing on video and new media from York University in Toronto. Peter has presented at many conferences on storytelling and social engagement. He began in September 2012 as the Acting Visual/Media Arts Program Manager at Toronto Arts Council

Nobody’s Home by Veronica Z.M. at the Akin Vitrine Gallery

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The Akin Vitrine Gallery is excited to announce the new exhibition, Nobody’s Home, by artist Veronica Z.M. Viewable from the street 24/7, exhibition will run from July 2nd to 31st at 1747 St Clair Ave W. 

Veronica Z.M. is a multidisciplinary artist working across mediums that include painting, drawing, ceramics, digital experiments and installations. Veronica’s work applies at times a somber and at times a playful lens to themes that center on myths, nature, memory and narratives. 

Nobody’s Home is part of a work that explores sorrow—how it lives in the body, accumulates in memory, and is folded into who we become. Working in acrylic, oils, ceramics and occasionally materials found in nature, Veronica looks to the natural world as both metaphor and a parallel system––one that also processes loss, adapts, and continues.

This installation runs from July 2 - 31 and represents a selection of experimental work in painting, ceramics and conceptual art, made between 2024-2025. 

We caught up with Veronica, to learn more about her new exhibition, inspiration and process.

 

Veronica Z.M in her Akin studio

 

Akin: What are you curious about right now? 

Veronica Z.M: “I’m always interested in exploring creation as a dialogue with audiences and communities. I love learning about how the creative process helps us process realities and narratives.” 

 

Akin: “What gets you in a creative mood?”

V.Z.M: “I tend to work in dedicated bursts and concentrated periods, sometimes once or twice a year. I usually collect, research, observe, and model out ideas before I start creating. To get into a creative mood, I often turn to music, audio books and movies. Once I have an idea in place, I’ll often have something running in the background while I work.”

 

Akin: What inspires you? 

V.Z.M: “Expression as a means of both private and collective healing.” 

 
 
 
 

Akin: “What does your Akin studio mean to you?”

V.Z.M: “It means being part of something communal and something that drives momentum.”

 

Akin: “What advice would you tell your younger self about creating art?” 

V.Z.M: “I’m not sure about giving advice, but embracing failure as certainty has been a helpful source of motivation.” 

Remote Gallery Summer Art Market & Exhibition - Sat July 18 from 1-6pm

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The summer art market is back at Remote Gallery.

Join us on Saturday, July 18 from 1–6pm for an afternoon of artwork, handmade goods, and conversations with artists from across the Akin community. Featuring 14 artists and makers working across ceramics, painting, illustration, textiles, crafts, and more, the market is an opportunity to discover new work and directly support local artists.

DATE: Saturday July 18
TIME: 1 - 6pm
LOCATION: Remote Gallery, 568 Richmond St W

Free to attend, everyone welcome! 

Featuring 14 Artists + Makers!

Tap their image to discover more of their work on Instagram.

Whether you've joined us before or are visiting for the first time, we'd love to see you there. Follow @akinprojects on Instagram over the coming weeks for artist highlights and event updates.

Remote Gallery, 568 Richmond St W

 

Accessibility Information

Remote Gallery is located at street level and has a step-free entrance, with step-free access throughout the gallery space and in both gender-neutral washrooms. The entrance doors are 37" wide and operated by a push button system.

The washroom doors are not automated and have round door knobs. Each washroom provides a 5' turning radius, and the toilets are not raised. For more details about accessibility at Remote Gallery click here.

Remote Gallery Open House! Tuesday July 7th from 6-8pm

Remote Gallery
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Join us at Remote Gallery, located at 568 Richmond Street West, on Tuesday July 7th from 6-8pm, for an Open House event. If you have creative ideas that need a beautiful, versatile space this is a great opportunity to visit and meet the Gallery Manager, Renato Baldin, to discuss tips for setting up exhibitions, available dates, and the logistics involved in bringing your ideas to life. 

 

What to expect?

  • An opportunity to visit the space in person to visualize ideas for possible events, projects or exhibitions.

  • Learn about the gallery’s facilities and what is available to you as a renter.

  • A chance to meet the Gallery Manager, Renato Baldin, to discuss tips for setting up exhibitions, available dates, and the logistics involved in bringing your ideas to life.

No registration necessary for this event, drop-ins welcome, light refreshments will be provided. 

 

About Remote Gallery

Remote Gallery is Akin’s dedicated exhibition and programming space. It provides opportunities for artists and members of the public to rent space for single or multiple day exhibitions, workshops, artist talks, readings, presentations, pop-ups and other artistic programs.

You can find more details about Remote Gallery on our webpage: www.akincollective.com/remote

Click here for detailed Remote Gallery Accessibility information.


See you there!

 

Remote Gallery, 568 Richmond Street West

 

Carlos Olavarrieta at Akin Vitrine Gallery

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Carlos Akin studios for rent toronto
 

A new exhibition has arrived at the Akin Vitrine Gallery for the month of June! Be sure to swing by 1747 St Clair Ave, where the vitrine is viewable 24/7 from the street, to check out Carlos Olavarrieta’s new exhibition, Sunset Shapes. 

Carlos is an artist who produces non objective oil paintings rooted in rhythmic patterns and created in an unplanned manner.  His newest oil on canvas, Sunset Shapes, will be on display from June 3rd to 27th. 


”I work in oil paints on canvas. My paintings are non-representational, abstract with soft lines, and vibrant colours.  Originally rooted in an interest in patterns and rhythms, my paintings have moved away from a rigid approach or intent. The paintings are determined by discovering an unknown image. The result is that the finished paintings are a manifestation of playfully painting. I do not want the process to feel like work, and I believe that overworking the painting can close the initial creative energy. Discovering an unknown image is achieved by approaching the blank canvas with no previous sketches or ideas in mind. Out of the resulting chaos, shapes and colour command space, and are brought into focus with minimal painting. As a result, the paintings present new images with an unpolished quality. Thus, the paintings are creative play revealed as an image. “ —Carlos Olavarrieta 

Carlos Akin studios for rent toronto

We caught up with Carlos to learn more about his work, inspirations and process.

Akin: “What are you curious about right now?” 

Carlos Olavarrieta:  “Different brushes.”

Akin: “Do you have studio routines or rituals? What gets you in a creative mood?” 

CO: “Approaching the canvas with no idea or sketch.”


Akin: “What inspires you?”

CO: “Music.”



Akin: “What does your Akin studio mean to you?”

CO: “A creative community.”


Akin: “What advice would you tell your younger self about creating art? What have you learned?”

CO: “The process takes time.” 


Learn more about Carlos’ work or reach out: 
@artistcarloso 
colavarr@hotmail.com
artinteriors.ca/artists/carlos-olavarrieta

Thanks for joining us at Akin Davisville’s Open Studio

Akin Davisville
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Akin Davisville Toronto Studios for rent
 

Thank you to everyone who joined us on May 23rd at Akin Davisville for our Open Studio as part of the City of Toronto’s Doors Open Festival. Despite the rainy weather, the event had a great turnout, and was a huge success! We had a lovely time meeting those who came out to see the studio and support our artists. The artists at Akin Davisville worked hard to pull this event together, giving art demonstrations, live portrait drawings, collage workshops, and displaying gorgeous artwork. A huge thank you to everyone who came by and special thanks to our talented artists and our fantastic volunteers. 

Here are some photos from the weekend. Enjoy!

 

Thank you to our volunteer @artful.sphere for many of the photos.