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Karsh-Masson Gallery

Location and hours

Exterior of Karsh-Masson Gallery

Ottawa City Hall, 110 Laurier Avenue West
613-580-2424 ext. 14167 TTY: 613-580-2401

Open daily 9 am to 8 pm, including holidays.
Free admission to exhibitions and events. Wheelchair accessible.
Please check the latest Ottawa Public Health safety guidelines prior to your visit.

While at City Hall, be sure to visit City Hall Art Gallery, featuring contemporary exhibitions by professional artists.


This 1,500 square-foot gallery is proudly named after photographer Yousuf Karsh and painter Henri Masson in honour of their contributions to Canadian art. Exhibitions are selected annually by a peer assessment committee. 

Learn More

Call for proposals: 2022-23 exhibitions (Karsh-Masson Gallery and City Hall Art Gallery)

left image shows black and white 2D artwork hung on black and white gallery walls; right image shows a colorful installation of handmade animal sculptures propped up or hung in the space.

(left) Neeko Paluzzi – The little prince (installation view at Karsh-Masson Gallery); (right) Kim Vose Jones – Cirque de-Vice (installation view at City Hall Art Gallery), photos: City of Ottawa

This competition is now closed. The Call for proposals: 2024-25 exhibitions at Karsh-Masson Gallery‎ and City Hall Art Gallery will be announced in March 2023.

Once every two years, the City of Ottawa Public Art Program invites professional artists and curators to propose an exhibition. Proposals are reviewed by a peer assessment committee and selected exhibitions are presented at Karsh-Masson Gallery or City Hall Art Gallery over the following two years. 

Due to the temporary postponement of the current exhibition season, successful applicants might experience scheduling delays.

About Karsh-Masson Gallery and City Hall Art Gallery

Karsh-Masson Gallery and City Hall Art Gallery are located on the main level at Ottawa City Hall, 110 Laurier Avenue West. Both galleries are open daily from 9 am to 8 pm and are wheelchair accessible. Admission is free. (Hours of operation are subject to change due to Covid-19 closures.)

Exhibitions at Karsh-Masson Gallery and City Hall Art Gallery feature the work of professional artists working in all media and include solo, group and curated exhibitions, exhibitions from the diplomatic sector, and circulating exhibitions from other institutions. Both galleries present a combined total of approximately 10 exhibitions annually, each of which lasts approximately eight weeks. Annual programming consists of artist talks and tours and an exhibition featuring the City of Ottawa Art Collection. An exhibition related to the Karsh Award is presented every two years at Karsh-Masson Gallery and the next one will occur in 2022. Although City Hall has 24/7 security, gallery staff are not onsite daily therefore exhibitions must be self-sufficient and cannot require regular maintenance.

A public gallery is a forum for the exploration of diverse ideas. The City of Ottawa exhibits artwork in all media that are of interest and importance to the community, that foster a sense of who we are, and that reflect current artistic practices. These exhibitions are presented in the public domain allowing for an appreciation, understanding and interpretation of our past and present through gallery programming.

The City of Ottawa supports cultural activity that is inclusive of Ottawa's equity-deserving communities, including people from diverse ancestries, abilities, ages, countries of origin, cultures, genders, incomes, languages, races and sexual identities. The City of Ottawa recognizes the Algonquin Anishinabe Nation as Ottawa’s Indigenous Host Nation. The City of Ottawa is committed to supporting cultural activities that respond to the Calls to Action put forward in the Truth and Reconciliation Commission Report. Applications from Algonquin Anishinabe Host Nation, First Nations, Inuit and Métis artists and curators are welcome and encouraged. The City of Ottawa recognizes both official languages as having the same rights, status and privileges.

Personal information in your application is collected under the authority of the City Council approved Public Art Policy. Personal information will only be used for evaluating your application and administering the City of Ottawa Public Art Program. City of Ottawa employees and peer assessment committee members are required to treat both the content of applications and the deliberations of the committee as confidential.

Floor plans


  • This call for proposals is open to professional artists and curators working in all media. A professional artist is someone who has specialized training in his or her artistic field (not necessarily in academic institutions), who is recognized by his or her peers as such, is committed to his or her artistic activity, and has a history of public presentation.
  • National and international applicants are eligible, however priority is given to applicants who live, or have lived, within a 150 km radius of Ottawa or who have a local connection, such as participating in the local arts community. Successful applicants will be responsible for all costs related to shipping artwork to and from the gallery, travel and accommodation.
  • Applicants who have exhibited at Corridor 45|75, Karsh-Masson Gallery or City Hall Art Gallery within the last two consecutive years are not eligible to apply.

Only one proposal per applicant will be considered. City of Ottawa employees or elected representatives are not eligible to apply.

Artworks with electrical components:

  • Artworks that require electricity must be approved by an accredited certification or evaluation agency prior to being installed at Karsh-Masson Gallery and City Hall Art Gallery. The object(s) must have an official certification mark or label indicating that the product has been independently assessed for safety. A list of recognized certification marks and labels is available.
  • For more information, visit the Electrical Safety Authority or call 1-877-372-7233.
  • Any costs associated with meeting the certification requirement are the sole responsibility of the artist.
  • Applicants must provide documentation that their artwork(s) meets Electrical Safety Authority standards (i.e. certification mark) in their proposal.


  • Exhibiting artists will be paid an exhibition fee in accordance with either the 2022 or the 2023 CARFAC-RAAV Minimum Recommended Fee Schedule, Section 1 (Exhibition and Screening Royalty Schedule, Institutional Category I). Curators will receive a professional fee.
  • The exhibition fee and the curatorial fee include all professional services related to the preparation, installation, consultation, writing tasks, and production of artwork(s) associated with the exhibition.
  • Each exhibition is allotted one presentation fee for an optional talk or tour in accordance with the 2022 or the 2023 CARFAC-RAAV Minimum Recommended Fee Schedule, Section 4 (C.2.0 – Presentation and Consultation fees, Flat rate per half day, under 4 hours).
  • The City of Ottawa Public Art Program does not cover expenses related to travel, accommodation, per diems and the transportation of artwork(s).
  • Complex installations of any kind requiring special equipment or specific support beyond the City of Ottawa Public Art Program’s budget are the sole responsibility of the artist.

Assessment criteria and process

All eligible applications are reviewed by a peer assessment committee based on the following criteria:

  • Artistic merit, originality and professionalism
  • Cohesiveness of the artwork examples and the written proposal statement
  • Appropriateness and suitability of the proposal to the highly public nature of the gallery spaces
  • Technical and physical feasibility

Peer assessment committee members first review eligible applications individually then meet to review them together. The composition of each committee aims to balance representation of artistic specialization, practice, style, and philosophy, as well as fair representation of official languages, gender, geographic areas and culture-specific communities. Peer assessment committee members are chosen based on their knowledge and experience, fair and objective opinions, ability to articulate ideas, and ability to work in a team environment. Members of the committee change with every competition. City employees are responsible for the selection of peer assessment committee members. If you are interested in participating as a peer assessment committee member, please email

Compliance review

Following the peer assessment committee’s deliberations, the selected exhibitions will be announced on Members of the public are invited to bring forward, within a 30-day period, any concern that the peer assessment committee did not comply with the publicly-announced criteria and procedures of the selection process.

Public Art Program – newsletter sign up form
By signing up for our newsletter, you will receive calls and announcements regarding the City of Ottawa Art Collection, public art commissions, and exhibitions at Karsh-Masson Gallery, City Hall Art Gallery and Corridor 45|75 all in one place. 

Compliance review: 2022-23 exhibitions

Posted July 31, 2021

The City of Ottawa invites you to review the exhibitions selected by the peer assessment committee for the Karsh-Masson Gallery and City Hall Art Gallery 2022-23 exhibition seasons. Within the next 30 days, members of the public may bring forward any concern that the peer assessment committee did not follow the criteria and procedures as described in the Call for proposals. Please contact with your concern between August 1, 2021 and August 31, 2021 at 4 pm. More information about this 30-day process is included in section 4.2 of the Public Art Policy.

Exhibitions selected by 2022-23 peer assessment committee

Artist: Ruth Steinberg
Working title: The Leave-taking

picture of an elderly lady holding a laced package

Proposal synopsis: The Leave-taking is an art documentary consisting of 27 photographic images and a 10 minutes video chronicling the final five months of my neighbor Alma's life before she received her Medical Assistance in Dying (MAID). It is at once joyful and though-provoking, highlighting the everyday life of a 97-year-old who lived fully and chose her death in accordance to her personal views on what constitutes a good life and a good death.

Image: Ruth Steinberg, October 2020, 2020, digital archival print, 46 x 46 cm, courtesy of the artist


Artist: John Healey
Working title: Plastic Beach:
There’s A Great Future in Plastics”

A picture containing dark, night sky with random plastic objects

Proposal synopsis: Plastic Beach: “There’s A Great Future in Plastics” is an exhibition of stark still-life images of plastic waste collected from the shores of each of the Great Lakes and St. Lawrence River. Re-imagined, taken out of context, and glorified, these images of found items provide evidence for our judgement by future generations. At its heart Plastic Beach reminds us of the cost of convenience and serves as a reminder of our unrelenting poisoning of the environment and ultimately ourselves.

Image: John Healey, Feature Wall, 2021, digital archival print, 20 x 25.5 cm, courtesy of the artist


Artists: Joyce Crago
Working title: Playing Dead

Body shape covered with fabrics

Proposal synopsis: Playing Dead emerges from my ongoing investigation of death, mourning, and sorrow and consists of a photo-based project comprised of sculpture, performance, videos, and photography. Turning the camera on my aging body and the objects and void left in the wake of a loved one’s death, this work explores the vulnerable intimacies of death. Playing Dead consists of five inter-related bodies of work — Worn, Casting Off, Enfold, Detritus, and Playing Dead.

Image: Joyce Crago, Worn, Brown, 2019, digital archival print, 86 x 127 cm, courtesy of the artist


Emily Putnam (curator), Norman Takeuchi (artist)
Working title: Long Division

Diptych painting, one side presenting the portrait of a man and a woman on their wedding day the other half presenting painted floral patterns.

Proposal synopsis: Long Division is an exhibition that features a new series of paintings with the same title by Ottawa-area artist Norman Takeuchi reflecting on how division – whether by time, space, or understanding – continues to exist in all its many forms. Featuring a minimum of eight diptychs each measuring 48” x 79,” Long Division is an exhibition that speaks to the values that act as bridges for our divisions: love, resilience, hope, healing, connection, and memory.

Image: Norman Takeuchi, Wedding Song, 2020, acrylic on canvas, 122 x 200 cm, courtesy of the artist


Artist: Laura Taler
Working title: Sebastian

Man surrounded by trees standing in in front of a large doorway

Proposal synopsis: Sebastian is a single-channel, large-scale, video and sound installation that plays on a seamless loop. The work presents a rough and magnetic cosmic cleaner who tirelessly performs a series of ritualistic actions inside a bucolic landscape. But this ritual cleansing contains a sinister trace, for the barn that frames the bucolic landscape amplifies the tension between the natural and the manmade. Sebastian explores repetition, re-enactment and impermanence, while proposing that knowledge emerges through the repeated gestures of the body.

Image: Laura Taler, Sebastian (video still), 2015, HD video with stereo sound, 18:13 min (looped), single-channel projection, photo: Justin Wonnacott, courtesy of the artist


Artist: Benjamin Globerman
Working title: Palimpsest I

Small lines displayed in a round pattern on top of a blurry image of a pipe organ

Proposal synopsis Palimpest I is an eight-speaker audio installation with a visual element that explores notions of inheritance in music. A palimpsest is a script or parchment where writing has been erased to make room for new text – a new idea supplants an old, but sediments of the past seep it. This piece is a collaboration with two local choirs, weaving together historical motifs through the deconstruction and recomposition of Renaissance choral music, creating a wholly new experimental work.

Image: Benjamin Globerman, Palimpsest (video still), 2018, video installation, 31:00 min, courtesy of the artist


Artists: Christos Pantieras, Sam Loewen, Carl Stewart
Working title:

picture of a handwoven blanket

Proposal synopsis: Thresholds explores queer intimacy and the consequences of finding it. Consisting of mixed media, installation, sculpture, and textiles, the exhibition brings together the work of Sam Loewen, Christos Pantieras, and Carl Stewart. These three Ottawa-based queer artists explore gay desire and the various boundaries one may cross to fulfill it. Loewen will present three interactive environments addressing the thresholds of interior space, Pantieras the in-between of online/offline space through sculpture, and Stewart exterior space through an immersive installation.

Image: Carl Stewart, clò mòr, 2018, handwoven wool, 183 x 274 cm, courtesy of the artist


Artists: Atticus Gordon, Megan Kyak-Monteith, Alex Sutcliffe
Working title: A Glimmering Feel Towards the Now

Blurry painting of three naked bodies

Proposal synopsis: A Glimmering Feel Towards the Now is an exhibition of expanded paintings by emerging artists Atticus Gordon, Megan Kyak-Monteith and Alex Sutcliffe. The exhibition explores the construction of meaning and storytelling within painting. Uniquely positioned between the Gen Z and Millennial generations, the artists are interested in representing their contemporary experience, and community, through traditional and experimental methods. In an effort to reach more of the community, a site-specific virtual exhibition will accompany the in-person show.

Image: Alex Sutcliffe, After Rubens Lot and His Daughters, 2021, oil and acrylic on canvas, 96.5 x 122 cm, courtesy of the artist


Artists: Doug Dumais, Simon Petepiece
Working title: Tangible and Intangible Materials

A picture containing rock in front of landscape on the left and a painted tarp on the right.

Proposal synopsis: The exhibition Tangible and Intangible Materials by Simon Petepiece and Doug Dumais employs materials found in construction sites to make the cultural, social, and political underpinnings of architectural space legible. Dumais’ photographs of construction sites, and Petepiece’s paintings on materials such as drywall, tarp canvas, or debris netting, are interventions into these overlooked scenes or objects. Their work affords viewers the time and space to contemplate the network of relations that entangle architectural spaces and their users.

Images (from left to right):
Doug Dumais, A Landscape for Construction Return, 2020, giclee print on paper, 73.5 x 53 cm, courtesy of the artist
Simone Petepiece, Mesh tapestry 01, 2020, mixed media, 152.5 x 152.5 cm, courtesy of the artist


Artist: Martin Golland
Working title: To be confirmed

image of an abstract painting

Proposal synopsis: Ten medium- to large-scale paintings that break down the boundary between the human and non-human; material inscapes that reconstitute a fraught ecology.

Image: Martin Golland, Chutes for Max Ernst, 2019, oil on canvas, 152.5 x 132 cm, courtesy of the artist


Artists: Manon Labrosse, Sharon Van Starkenburg
Working title: Re-Wilding

An image with an abstract rendition of a landscape on the left and a painting of two kids around a campfire on the right

Proposal synopsis: Re-Wilding brings together the work of 2 painters, Manon Labrosse and Sharon VanStarkenburg, in an exhibition of work exploring natural landscape as metaphor. Labrosse creates imaginary landscapes from ideas depicted from movies and literature and from photos taken while out in the wilderness. This results in anthropomorphic landscapes inspired by the idea of metempsychosis. VanStarkenburg depicts female figures in conjunction with animals and nature as an expression of intersubjectivity; her figures are viscerally and psychologically intertwined with their environments.

Images (from left to right):
Manon Labrosse, Detail of Chronology of a Journey, 2021, Acrylic on mylar, 241 x 536 cm, courtesy of the artist
Sharon VanStarkenburg, The Kindling Collectors, 2021, oil on terraskin, 63.5 x 43 cm, courtesy of the artist


Artist: Cat Attack Collective
Working title: To be confirmed

A picture with two images of an abstract drawing.

Proposal synopsis: Cat Attack Collective is a collaboration in painting between mother, Natalie Bruvels and nine-year-old son, Tomson. Through painting, immersive installation and collaboration, the work presented critically engages visual culture including contemporary painting, art historical archetypes, digital worlds, advertising, and photographs. A re-imaging of the masculinist art historical archetype Madonna and Child, Cat Attack Collective serves to give voice to both participants, exploring a relational identity and interrupting exploited domestic labor.

Image: Cat Attack Collective, Hug (diptych), 2021, oil, acrylic and mixed media on canvas, 122 x 122 cm, courtesy of the artist


Artist: Emily DiCarlo
Working title: The Propagation of Uncertainty

A picture of a gallery space exhibiting three large tv screens

Proposal synopsis: The Propagation of Uncertainty reflects on the contemporary cult of productivity and the effects on the temporal body at odds with time’s infrastructure. Combining elements of installation, video, text, and performance derived from the Frequency & Time Department at the National Research Council in Ottawa, the exhibition invites viewers to meditate on how their relationship to time transformed during and after the pandemic while offering alternative frameworks to consider their temporal life through.

Image: Emily DiCarlo, The Propagation of Uncertainty, 2020, three-channel video installation, 5:40 min, courtesy of the artist

2018 exhibitions

Barbara Brown and Cynthia O’Brien – LifeCycle Conversations

Judith Parker, curatorial collaborator

November 8, 2018 to January 9, 2019

Vernissage: Thursday, November 8, 5:30 to 7:30 pm

Death Café: Wednesday, November 21, 5:00 to 7:45 pm in the exhibition
Death Café is an opportunity to talk about all aspects of death over a cup of tea, coffee and cake.
Seats are limited, RSVP to reserve a place:
Information: or

Artists’ tour and catalogue launch: Sunday, December 2, 2:00 pm

Curatorial talk: Sunday, January 6, 2:00 pm

An example of the kind of work included in this exhibition

Barbara Brown and Cynthia O’Brien, She Remembers Me, 2017, archival pigment print (photograph of a collaborative clay sculpture installation), 160 x 106 cm. Courtesy of the artists.

An example of the kind of work included in this exhibition

Barbara Brown and Cynthia O’Brien, She Remembers Me (detail), 2017, archival pigment print (photograph of a collaborative clay sculpture installation), 160 x 106 cm. Courtesy of the artists.

Catalogue excerpt

LifeCycle Conversations is inspired by the theme of memento mori – a reminder of human fragility, mortality and the inevitability of death. In traditional Western painting it is represented symbolically by flowers, fruit and other objects, but here memento mori has been transposed into immersive installations created collaboratively by Barbara Brown and Cynthia O’Brien.

This is the first time that Barbara Brown (photography) and Cynthia O’Brien (clay sculpture) have chosen to work in a collaborative manner – their new works are the fruit of their combined artistic vision. Though the artists work in different media, both employ the changing beauty and delicacy of plants and flowers as a commemorative act and as an observance of transience, loss, memory, decline and rejuvenation in all living things. Brown and O’Brien’s installations also reflect the emotional impact that working as artists in a long-term care residence, where they befriend individuals who are near the end of their lives, has had. Their work reveals profound insights gained from this experience.

-Judith Parker


Barbara Brown’s recent exhibitions include Red Oak Labyrinth, an outdoor installation in Beyond the Edge: Artists’ Gardens, Experimental Farm, Ottawa, 2014 (Canadensis Botanical Garden Society), and Desire for Acadia, a solo exhibition at David Kaye Gallery, Toronto, 2018 (Contact Photography Festival). Residencies include Kingsbrae International Residence for the Arts, Saint Andrews, NB, 2017; the Art Collaborative Residency, Jaipur, India, 2017; and Alchemy: An Artist-Led Residency, Hillier, ON, 2018. Recent grants include support from the Ontario Arts Council.

Cynthia O’Brien’s clay sculpture is collected by the Taipei County Yingge Ceramics Museum, Taiwan, the Canada Council Art Bank and the City of Ottawa. O’Brien’s recent grants include the Explore and Create Program, Canada Council for the Arts, 2018 and Arts Funding, City of Ottawa, 2015. Residencies include Tanks Arts Centre, Australia, 2012; Watershed, USA, 2013; Ayatana Artists’ Research Program and CPAWS-OV Dumoine River Art Camp, Quebec, 2017; and MASS MoCA, USA, 2018.

Judith Parker is a curator and art historian. Exhibitions include: co-curator, Beyond the Edge: Artists’ Gardens, Experimental Farm, Ottawa, 2014 (Canadensis Botanical Garden Society); two artist-in-residence exhibitions at the Bytown Museum, Michèle Provost – Rebranding Bytown, 2012, and Cindy Stelmackowich – Dearly Departed, 2011; and Freedom of Association: Dennis Tourbin and Other Artists, Ottawa Art Gallery, 2012. Residencies include Elsewhere – Living Museum, North Carolina, USA, 2014. The Ontario Arts Council has supported her work.

Adrienne Scott – Magpie Landscapes

September 13 to October 31, 2018
Vernissage: Thursday, September 13, 5:30 to 7:30 pm
Artist talk: Sunday, October 21, 2:00 pm

An example of Adrienne Scott's artwork

Adrienne Scott, Conkers, 2016, inkjet print on paper, 60 x 90 cm. Courtesy of the artist.

An example of Adrienne Scott's artwork

Adrienne Scott, Mouths, 2016, inkjet print on paper, 60 x 80 cm. Courtesy of the artist.

Catalogue excerpt

Adrienne Scott’s way of collecting hints at a deeper understanding of the significance and potential contentiousness of imposing rigid codifications on—and claiming authority over—the world and its knowledge, an approach traditionally adopted by museums and archival institutions. As the artist gathers her ephemeral inventory, she “underscores the nature of all archival materials as found yet constructed, factual yet fictive.” [Hal Foster, “An Archival Impulse”, October, Vol. 110 (Fall 2004), The MIT Press, Cambridge, Massachusetts, p. 5.] It’s as though her fluid taxonomies support obscure fantasies tinged with a personal nostalgia for unspoiled ecosystems. In this sense, Magpie Landscapes can be read as an abstract catalogue of the world’s impermanent textures.

-Laura Demers


Adrienne Scott is an artist currently working in Toronto, ON. She is a graduate of the BFA program at the University of Ottawa (2016) and a recipient of the Edmund and Isobel Ryan Scholarship in photography. She has also participated in interdisciplinary projects through programs such as the 2017 Montreal Contemporary Music Lab (LMCML). She has participated in exhibitions throughout Ontario, including at Voix Visuelle (Ottawa, ON), the Gladstone Hotel (Toronto, ON) and Idea Exchange (Cambridge, ON).

René Price – The Art of City Building

July 12 to September 4, 2018
Vernissage: Thursday, July 12, 5:30 to 7:30 pm
Artist talk and walkabout: Sunday, August 19, 2:00 pm

Image of baseball cap

Image of found baseball cap by Petra Halkes. Courtesy of the artist.

An example of René Price's work

René Price, Towers of Power series, 2010-2017, mixed media, variable dimensions. Courtesy of the artist.

Reacting to the never-ending controversial development plans in Ottawa, satiric artist René Price has built a model utopian city, “OTTOWA” that will be presented on the floor, sprawling out from the middle of the gallery, giving the viewer an overview of it all, zoning and OMB permitting. Profit, growth, gentrification, human foibles and luck, all play a part in mapping out our collective future.

Catalogue excerpt

The Art of City Building is a modelled city, not a model city. Instead of a speculative representation of carefully planned and rationally managed development, it presents us with haphazard hoarded collections of juxtaposed, manipulated, and hacked objects that resemble and parody the city we know. But what city do we know?

-Sarah Gelbard


René Price is an Ideaguy/inventor, Quirky Mockartist, Scribbler, Rascal, Non-smoking cyber Luddite and Grand Amateur. He has shown his art stuff from Sainte-Foy (Quebec) to Montreal, Ottawa, Cornwall, Toronto, Hamilton, London (Ontario), Sault Ste. Marie, Winnipeg (twice) and Calgary. He has been reviewed in Border Crossings, Art Papers (USA), Espace, Artichoke and various newspapers. His artworks are in the odd collection. He wants to create MORCA (Museum of René’s Contemporary Art) in the Ottawa area, sometime soon!

René Price gratefully acknowledges the support of the Ontario Arts Council.

Jennifer Anne Norman – Forest for the trees

April 26 to July 4, 2018
Thursday, April 26, 5:30 to 7:30 pm
Artist talk: Sunday, May 6, 2:00 pm

Catalogue excerpt

Jennifer Anne Norman’s graphite and mixed-media drawings depict the assemblages she creates by repurposing post-consumer waste to repair and redress fragile tree branches. Norman carefully wraps the knotted limbs of broken branches with pieces of local debris, a tender gesture that invites us to consider our responsibility towards the natural world.

-Isabelle Lynch

Un exemple d’une œuvre d’art conçue par Jennifer Anne Norman

Jennifer Anne Norman, Becks, 2017, graphite and mixed media on paper, 48 x 61 cm. Courtesy of the artist.

Un exemple d’une œuvre d’art conçue par Jennifer Anne Norman

Jennifer Anne Norman, Reclaim (work in progress), 2017. Courtesy of the artist.


Jennifer Anne Norman is a multidisciplinary artist with ecological motivations. She hails proudly from Northern Ontario and is currently based in Toronto. She received her BFA from OCAD University, and her MFA from the University of Ottawa. Norman has received multiple grants from the Ontario Arts Council for the production of her work and has participated in numerous national and international artist residencies. She has exhibited in Canada, Scotland, Italy, Korea and the USA, and her work is included in numerous private and public collections including the National Art Bank of Canada.

Jennifer Anne Norman gratefully acknowledges the support of the Ontario Arts Council.

Andrew Ooi – Anatomy of Resilience

February 8 to April 18, 2018
Vernissage: Thursday, February 8, 5:30 to 7:30 pm

an example of Andrew Ooi's work

Andrew Ooi, Matrix 2, 2015, acrylic on gampi, 25 (diameter) x 2 cm. Photo: Natalie Shahinian, courtesy of the artist.

an example of Andrew Ooi's work

Andrew Ooi, Trinity, 2015, acrylic and ink on gampi paper, 19 x 35 x 3 cm. Photo: Natalie Shahinian, courtesy of the artist.

Catalogue excerpt

Andrew Ooi has chosen an unpretentious material to work with, even if his paper is Japanese gampi, made by hand from the inner bark of a bush.  He cuts it into strips, then into small rectangles before drawing and painting it; after that comes the folding, gluing, and assembling.  This is patient work, the gradual building occurring over many hours, and there is, I imagine, a playful element here, something of the concentrating child sitting cross-legged on the floor.  This painting and folding seems a simple practice, but what Ooi produces isn’t simple at all.  This is the first of the many contradictions in his work.

-Cary Fagan


Self-taught in matters of art and origami, Andrew Ooi made his debut in the interior design community who quickly took notice of his radiant objects. The works were published in Illuminate: Contemporary Craft Lighting (Bloomsbury Publishing) and 1,000 Product Designs: Form, Function, and Technology from Around the World (Rockport Publishers), after touring at events and exhibits in Ontario, Canada and Jyväskylä, Finland. Exhibiting in galleries introduced him to the potential freedom of pursuing a visual art practice, which has led him to explore paint and paper; colour, and especially pattern. Andrew Ooi’s artworks have been exhibited in group and solo shows in the US and in Canada where he is currently based. His work is represented by L.A. Pai Gallery in Ottawa, ON and by BoxHeart Gallery in Pittsburgh, PA.

Andrew Ooi gratefully acknowledges the support of the Ontario Arts Council.