Join the ADAC at the 65th Annual Toronto Outdoor Art Fair in Nathan Phillips Square, running from July 10 - 12! We are hosting two booths geared at starting collections from any age!

Budding Art Buyers Booth | Kids aged 0-14 can purchase artworks from $10 - $20. Cash only.

My First Artwork | Geared towards 20 - 30 year olds, new collectors can purchase artwork for $500 and under.

Join the ADAC at the 65th Annual Toronto Outdoor Art Fair in Nathan Phillips Square, running from July 10 - 12! We are hosting two booths geared at starting collections from any age!

Budding Art Buyers Booth | Kids aged 0-14 can purchase artworks from $10 - $20. Cash only.

My First Artwork | Geared towards 20 - 30 year olds, new collectors can purchase artwork for $500 and under.

Join the ADAC at the 65th Annual Toronto Outdoor Art Fair in Nathan Phillips Square, running from July 10 - 12! We are hosting two booths geared at starting collections from any age!

Budding Art Buyers Booth | Kids aged 0-14 can purchase artworks from $10 - $20. Cash only.

My First Artwork | Geared towards 20 - 30 year olds, new collectors can purchase artwork for $500 and under.

On Saturday, May 2nd, Mira Godard Gallery is pleased to open a 100th Birthday Exhibition of paintings and works on paper by Takao Tanabe. Mira Godard Gallery has been representing Takao Tanabe's work for 65 years and the relationship continues to this day.

The current exhibition includes paintings and works on paper, many of them directly from Tanabe's studio. TAKAO TANABE, an important figure in Canadian painting and printmaking for almost 80 years, was born in Prince Rupert, British Columbia in 1926. Takao Tanabc studied in Canada. Europc, the United States and Japan. Following a decade as head of the art program and artist-in-residence at the Banff Centre, he returned to British Columbia in 1980 where he lives and works.

Website: www.godardgallery.com.
Exhibition Dates: May 2, 2026 - June 27, 2026

Image: TAKAO TANABE, “South Moresby 2/86: Kunghit Island”, 1986, acrylic on canvas, 42 x 84 in.

"The Outsiders": Luc Giard, Anick Langelier, Marc Leduc, Fruit Stains, Devon Marinac and James Kirkpatrick.

Exhibition on until June 27, 2026 !

Image: Anick Langelier, Edgar and the Cat. Acrylic on canvas. 24 in. x 36 in.

Fazakas Gallery is pleased to present Re-counting Coup, the first solo exhibition in British Columbia by Matthew Provost Naatsikapamatoosin (Two Smudge), an artist from the Piikani and Kainai Nations (Southern Alberta), part of the Siksikaitsitapi (Blackfoot Confederacy). Two Smudge’s practice explores how Siksikaitsitapi knowledge systems persist and adapt within contemporary contexts. Working across painting, material interventions, installation, and hanging mobile sculpture, he engages histories of mark-making, land, and value to consider how cultural knowledge is carried forward.

The exhibition’s title draws on the Blackfoot practice of counting coup, a Plains Indigenous tradition in which warriors demonstrated bravery through close physical proximity to an opponent—touching rather than killing. Emphasizing risk, precision, and restraint, the act held deep social and cultural significance.

Read more: https://fazakasgallery.com/exhibitions/60-matthew-provost-naatsikapamatoosin-two-smudge-re-counting-coup-fazakas-gallery-vancouver-bc/

Image details: Matthew Provost Naatsikapamatoosin (Two Smudge), My home takes care of me., 2026. Acrylic paint, 24 x 30 inches.

Scenic Detours is Oeno Gallery’s summer group show, bringing together a diverse selection of works by gallery artists across painting, sculpture, glass, and mixed media. Inspired by the spirit of exploration and the unexpected moments found along the way, the exhibition reflects on landscape, movement, atmosphere, and discovery through a wide range of artistic perspectives.

Featuring both new and recent works, Scenic Detours invites visitors to experience a vibrant journey through colour, texture, and place during the summer season.

The exhibition pairs naturally with our 4-acre outdoor sculpture garden which is especially vibrant in the summer months with blooming gardens and newly installed works.

Oeno Gallery invites you to experience this evocative collection of new paintings created exclusively for this solo exhibition. For decades, the timeless and vividly colourful work of Jennifer Hornyak has been widely collected around the world. Acclaimed for her intuitive use of rich colour, gestural form, and visceral texture, her ‘flowerscapes’ and figurative compositions echo the European masters she once studied. Yet, Jennifer Hornyak's singular vision ultimately transcends tradition, blurring the line between abstraction and figuration.

Opening Reception: Saturday, May 16th from 2-5 pm artist in attendance

Abbozzo Gallery is pleased to announce Naoko Matsubara's upcoming solo exhibition titled, 'Always Has, Always Will'. The uniqueness of the exhibition lies in its invitation to immerse oneself in a multidimensional confluence of Japanese aesthetics, the sensation of shokkan, the European graphic tradition, and the modernist thinking of Europe and America. It is precisely this complex interplay that defines the depth, length and breadth of Naoko Matsubara’s artistic vision and embodies her notion of global modernism at its fullest expression.

 http://www.abbozzogallery.com/show/abbozzo-gallery-naoko-matsubara-2026#works

On from June 6 - August 29, 2026.

In this exhibition, the work functions as a distillation of a wider body of research. I use digital fabrication and 3D scanning as methods for archival investigation and the speculative reconstruction of objects. This collection brings together large scale sculptural elements with a new series of textile works that investigate the intersection of language and material. By sourcing imagery from Kurdish children books, the pieces act as a speculative archive of materials, turning instructional illustrations into tactile experiences. 

Central to this installation are the neon sculptural works, and the piece, ‘The sheep and chevrolet’. These pieces serve as a physical dialogue between traditional regional forms, pop culture, and contemporary manufactured reality. By focusing on the act of folding and deflating, I am looking at the physical limits of an object and its ability to occupy space. These works do not just sit in the gallery but interact with the architecture of the room. They ask how we carry our stories and what happens when those stories are translated into new, synthetic languages. 

Through the act of weaving and pressing, the exhibition explores how stories are carried and what remains when those stories are translated into new physical languages.

Opening Night: May 8, 2026
Exhibition Dates: May 8 - 30, 2026

After Hours draws from Adrienna Matzeg’s time spent in Kyoto, Tokyo, and Seoul during the height of summer. The afternoons were intensely hot and humid, so much of her exploration happened after dark. Her work draws from photos she took on late-night walks, when illumination transformed each city. Convenience store runs, snacks from night markets, and brief detours before returning to the hotel were moments of pause within the constant motion and unfamiliarity of being somewhere new. These places and objects became beacons within the dense urban environments and the relenting heat. In her work however, the energy of the city falls away. What remains are quiet scenes that left an imprint, tactile snapshots as a record of those summer nights.

Abbozzo Gallery and Adrienna Matzeg want to thank Superframe Toronto for their support in framing the artworks in this exhibition. 

Opening Night: May 8, 2026
Exhibition Dates: May 8 - 30, 2026

"The Outsiders": Luc Giard, Anick Langelier, Marc Leduc, Fruit Stains, Devon Marinac and James Kirkpatrick

Opening Reception Sat. May 30, 2 pm - 5 pm, refreshments served.

Exhibition on until June 27, 2026

Image: Anick Langelier, Edgar and the Cat. Acrylic on canvas. 24 in. x 36 in.

In partnership with the CONTACT Photography Festival, Olga Korper Gallery is pleased to present Close Encounter, an exhibition of over thirty photographs by Robert Mapplethorpe.

Featured image: Sybil Walker, 1979 Robert Mapplethorpe. Gelatin silver print, ed. of 10, 16” x 20”© Robert Mapplethorpe Foundation.

Newzones is pleased to present "Emily Filler: Deconstructed Bouquets", a solo exhibition and new body of work by the Canadian contemporary artist.

As with all her work, Emily Filler brings mixed media elements together to communicate a sense of joy – weaving painting, printmaking and photography together in her ‘painterly collages’. Flowers act as a departure point to a world that dissolves into abstraction, whereby creating a sense of the familiar, but also the feeling that one is falling into a dream. Filler’s artwork walks the line between the real and imaginary, not wishing to present the viewer with a realistic interpretation of flowers and bouquets, but rather to convey the beauty and the impressions which they leave behind in our memories.

For "Deconstructed Bouquets", Filler initially approached the new body of work thinking about how she could simplify. Of the exhibition she states:

"I have always admired artists with a minimalist aesthetic – Ellsworth Kelly, Etal Adnan, Barnett Newman, late Matisse. I think in some ways as an artist it’s very hard to escape yourself, your style, and so even though I love work like this I’ve made very little of it myself.

Before I started working on the show I was going on lots of long walks. I spent a lot of time walking around residential neighbourhoods in downtown Toronto. I started noticing all these brightly coloured accents everywhere. Houses, roads, cars, and even grass are usually fairly neutral colours, but then I would see a yellow watering can, a bright orange pylon, a blue tricycle on a lawn that would stand out in the neutral landscape.

It made me think about how you could collage bright, flat shapes into a neutral background and what an interesting effect that would have. The earlier pieces in this series have mostly grey backgrounds for this reason. Then I started looking at the work of Sterling Ruby. If I got stuck on a painting in the studio I would grab this book of his work that I have and say to myself out loud ‘What would Sterling Ruby do?’ This is when I got hooked on circles. Sterling Ruby did lots of collages with circles. It is strangely a shape I’ve never considered, but I really began to love.

As I was doing all of this I was also thinking about the nature of collage and how in addition to collaging together physical pieces of canvas or paper you could also in a more abstract way collage together ideas. I don’t know why this hadn’t occurred to me before. I save a lot of images on my phone. I have over 25000 images saved of random things like book covers, interiors, art, fashion shows, so many things. I started piecing together random ideas I’ve had for a long time. So for example one piece might have a reference to another artist I admire, a Prada runway show from 2009 and a garden hose I saw on someone’s lawn.

Then I started thinking about how each painting is a kind of visual diary of the things I saw around that time, things I noticed and admired. It made me wonder if a painting would be the same if I had worked on it on a different day at a different time. Or could this exact thing only be made at this exact time with these outside factors – Who did I talk to that day? Was I in a good mood? What did I see when I was looking around?

I suppose I’ll never know. What I do know is that working this way was very freeing and exciting. I think when you are a visual artist and you are recognized for certain bodies of work you have made in the past you don’t realize how much that dictates the work you make. When I tried to remove all of that (which you can’t ever entirely do, but still) it allowed anything and everything to be an option which made these works an exciting adventure for me.

What I hope to convey with these pieces is a sense of joy, freedom, a bit more simplicity, and express to the viewer (even if a little mysteriously) who I am and what excites me in this moment in time."

Emily Filler received her BFA Honours from Queen’s University in Kingston, Ontario. Her work has been exhibited across North America and can be found in private and corporate collections world-wide.