Toronto based artists Sam Mogelonsky and Becky Ip will join us for a presentation on their works in our new exhibition, ‘Making Methods.’

Becky Ip’s video and sculptural work is informed by personal narrative. Through meticulous research of her own history, she engages in the process of memory to create graphite drawings and paintings. By means of an almost compulsive process, the artist records her paintings into a dream-like video work her family’s past.

Through the repetition of decorative elements and process-driven labour, Samantha Mogelonsky attempts to challenge limits of adornment, contemporary consumption and excess. Her sculptures are truly experiments in material and labour.

Becky Ip holds a BFA in Interdisciplinary Studies from Concordia University and has participated in residencies at The Banff Centre and Plug In ICA (Winnipeg).

Sam Mogelonsky is an emerging Toronto-based artist. She holds a BFAH from Queen’s University, (Kingston, Ontario) and an MFA from Central Saint Martin’s College of Art (London, UK). Her work is held in Canadian and international collections and she is the recipient of a 2013 emerging artist grant form the Toronto Arts Council.

To register your seat click the link:

Thursday, June 5 at 7:00pm – 8:30pm

Judith & Norman ALIX Art Gallery147 Lochiel Street, Sarnia, Ontario N7T 7B4


For this year’s Platform Projects @ Art Athina, LUBOMIROV-EASTON has invited a large number of international artists to send a letter to Greece. The only restriction on artwork is that it must fit inside an A5 envelope – a size which represents a single fold in the standard A4 letter size. Rooted in a tradition of postcard shows, such as the annual ‘Secrets’ at the Royal College, as well as referencing mail art and the New York Correspondence School, this format has the advantage not only of simplifying freight, but crucially of allowing a larger number of artists to be shown together. Thus the show is conceived as a kind of communal artwork, a joint letter from one community of artists to another, to be assembled on site from hundreds of individual pieces. It is the nature of Platform Projects, as a gathering of international artist-led organisations, which are each other’s audience as much as the visitors to the fair, that makes this form of address to other artist communities possible.

The participating artists have complete freedom to interpret the 148×210 mm envelope space and there are no restrictions made on contents: whether the work is a postcard, a letter, or poster; whether painting, drawing, or sculpture; any object is allowed, including digital media such as a CD, DVD, or memory stick, or anything else that can be mailed and survive the postal journey there and back. There are no thematic restrictions either, and the resulting collection is intended as a broad snapshot of practices and ideas. It is then the role of the curator and the viewer to search out signs of a common language, which may perhaps exist, or be perceived to exist. 

The artists are, however, invited to consider the wider implications of the A5 format, such as for example its geometric properties, its history, its ubiquitous circulation. The A0 to A10 series of paper sizes have been used as an international standard throughout Europe and most of the world for nearly a hundred years. They were invented by a German scientist in the 18th century and first used officially in France during the Revolution. Their especial genius is the simple and elegant concept of creating a rectangle which preserves its width-to-length ratio when folded in half. For this to work, it can be shown that the sides of consecutive A sizes must be reduced by roughly 29% ( a scale factor of 1/√2 ). The largest size in the series, A0, has an area of 1m^2, and this basic unit of scientific measure is folded in half up to 10 times to create all the other sizes. 

Because every fold doubles the number of sheets, a single square meter can accommodate up to 32 A5 sheets. Hence the standard walls in Platform Projects give LUBOMIROV-EASTON ample scope to represent a significant range of artists at the fair. 

Bonita Alice, Brandon Alvendia, Ralph Anderson, William Angus-Hughes, Rachel Ara, Akiko Ban, David J Batchelor, Richard Bateman, Michael Boffey, Juan Bolivar, Vivienne Boucherat, Jane Boyer, Joanna Brinton, Samuel Capps, Thomas C. Chung, Carlos Correia, Cecilia Costa, Deb Covell, Amelia Critchlow, John Crossley, Amy Cunningham, Karen David, Bella Easton, Liz Elton, Holly Frean, Cadi Froehlich, Mikey Georgeson, Henk Gieskens, Alison Gill, Alison Goodyear, Maria Gouveli, Fiona Grady, Oona Grimes, Seth Guy, Kirsty Harris, Chris Hawtin, Jane Hayes Greenwood, Brian D Hodgson, Phill Hopkins, Laura Hudson, Mandy Hudson, Hannah Hughes, Julian Hughes-Watts, Lisa Ivory, Karin Janssen, Evy Jokhova, Katherine Jones, Young Joo Kim, Tabitha Knight, Hiroe Komai, Maggie Learmonth, Maria Letsiou, Rachel Levitas, Katherine Lubar, Iavor Lubomirov, Lee Maelzer, Colin Maitland, Enzo Marra, Sam Marshall, Zoe Martin, Nigel Massey, Michael McNamara, Sam Mogelonsky, Satoshi Nakajima, Valeriya N-Georg, Sarah Pager, Seung Ah Paik, James Petrucci, Carolina Piteira, Gareth Proskourine-Barnett, Quinn and Harvey, Frances Richardson, Pippa Ridley, Greg Rook, Steve Rosenthal, Laura Smith, Elli Sou, Aaron Steed, Joseph Stokes, Dolly Thompsett, Albeiro Rojas Tomedes, Claude Vergez, Marianne Walker, Grant Watson, Alice Wilson, Dan Wray, Margita Yankova

For more info:

Great blog article about Extra Ordinary at FCG

On her last day in gallery, Forest City Gallery’s 2013-2014 Intern, Emily Simpson wrote a responsive article regarding the exhibition Extra Ordinary. This exhibition was curated by FCG’s current Director Jenna Faye Powell, and features three emerging artists Matt King, Sam Mogelonsky and Bree Zorel. Emily elaborates on some of the shared aesthetics, themes and concepts that run throughout the exhibition.


Tactile and Transformative
Written by Emily Simpson

Forest City Gallery’s show Extra Ordinary is a refreshingly accessible exhibition.  Featuring the works of Matt King, Sam Mogelonsky and Bree Zorel, the gallery space tends to its viewers offering different instances of reinterpreted familiarity.   Though striking visual temptations activate initial viewer interest, deeper meanings of the works speak to violence and mass production, social storytelling and the peculiarities of life.  Curator Jenna Faye Powell states, “The artists chosen for this exhibition have crafted objects that may seem too ubiquitous, too shiny, or too humourous to hold any other agenda than to entice and tempt” (Jenna Faye Powell, Extra Ordinary, 2014).

Extra Ordinary is curated by Forest City Gallery’s director Jenna Faye Powell.  This opportunity is given to the person in her position every two years and for Powell, this will be her first solo-curated exhibition.  Bringing three artists together in a similar spacewhile maintaining flow and thematic clarity is no easy feat, but Extra Ordinaryaccomplishes just that due to the conscious, careful decisions made by Powell during the past two years of its process.

The space of the gallery mimics the contemporary and minimal features of the unremarkable objects.  Preconceived expectations of a common art gallery accurately describe the space for this exhibition, however because everything is curated to expose that which lies beyond the usual, the space itself becomes of greater importance.  The stark white walls are under-covered, therefore greater exposing their mere purpose and existence.  The walls appear on display, as do the objects presented on them.  In this sense, the exhibition presents as awaiting viewer inspection and interpretation.

Each artist uses different tactics to transform ordinary objects.  Sam Mogelonsky’s works showcase the artistic process involved in their making – a form of fascinating seduction that comes across as assertive in nature.  The objects do not offer anything other than their basic form and creation and yet it is hard to look elsewhere.  Mogelonsky’s shiny objects recall ideals of mass production.  Her works visually reference children’s art projects that are professionally done.  Highlighting the mechanics of the human ability, these works speak to the self-destructive, cyclical nature of mass production.

Read the full article here.


Making Methods: Becky Ip, Samantha Mogelonsky, Mark Stebbins
Judith & Normal ALIX Art Gallery
147 Lochiel Street, Sarnia, Ontario, N7T 0B4

June 6 to August 10, 2014

The works in Making Methods focus on concepts of repetition, detail, and labour as a means of production. Arising in an era when rapid digital and non-physical experiences are commonplace, each artist’s engagement with materiality highlights a potential modernization of craft-based practices and as a result, an increased focus on hand-rendered art. Through the juxtaposition of these unique artistic processes, chance, memory, experimentation, and a wide range of references from popular cultural coalesce in inherently transformative and unpredictable ways.

Opening June 6, 2014

Thanks to Jenna Faye Powell and everyone at Forest City Gallery in London, ON, for the fabulous opening on Friday night! The show with Bree Zorel and Matt King continues until May 10.

Vu d’Ici in Montreal

Thank you so much to Studio Béluga for the great show in Montreal. Vu d’ici continues until Friday. (Image courtesy of Bernard Ionescu)


As many people know, the Union Gallery – the student run gallery – at Queen’s University is going through a hard time.

For the last 19 years the Union Gallery has provided and experiential learning and career development opportunities for students at Queen’s through its contemporary visual arts programming. It is free and accessible to the campus, the broader Kingston community and visitors to Kingston.  However, it has been a very challenging year for the gallery financially.  Our main source of funding is through undergraduate student fees and this was cut off because we lost the student referendum by a margin of 28 votes. This resulted in a major cut to the gallery hours and program and next year looks even more grim. Last month, the AMS General Assembly on February 13th,  voted not to support our efforts to have the student reinstated for yet another year (this time we lost by 4 votes).  We have been told there is no appeal process.  It has now become clear that in order to survive we must seek other avenues of support.

Here is my letter of support. Please write your own!

To whom it may concern,

I was very disheartened by the AMS’s recent decision to drastically slash the Union Gallery’s funding. While I respect the democratic process for funding student organizations, the Union Gallery is an extremely valuable asset to Queen’s University and Kingston community. It should be allowed to appeal the decision and/or be given bridge funding until such time as a revised strategic development plan to secure a sustainable funding model for the future of the gallery can be presented.

I attended Queen’s University from 2002-2006, when I graduated with my BFAH. Following Queen’s, I completed my MFA from Central Saint Martin’s College of Art and Design in London, UK in 2007. I maintained an art practice in London and travelled with my work to France and Spain, before returning to my hometown of Toronto in 2010 and setting up an art practice here. I am the recipient of a 2013 Emerging Artist Grant from the Toronto Arts Council.

While studying at Queen’s, the Union Gallery was an important part of my university experience. It was my introduction into the professional practice of being an artist and I had my first show in a gallery space there in 2003. I exhibited at the Union every year during my BFA, culminating with my fourth year show (citations) in late 2005 with Lisa Visser and Sarah E. K. Smith. The show was a very important moment for all three of us, teaching us every step involved in the exhibition process. I still remember our exhibition opening and the enormous sense of pride I felt to be showing at the Union Gallery.

Since leaving Kingston, I have exhibited my work in Canada, the UK, Ireland, Spain, Portugal, Switzerland and France. I have recently exhibited at The Red Head Gallery (Toronto), The Rooms Provincial Art Gallery (St. John’s), The Robert McLaughlin Gallery (Oshawa), The Living Arts Centre (Mississauga) and again at the Union Gallery. Having access to the professional quality experience at the Union Gallery from the beginning of my art education was critical and I still think of my early exhibitions there today when preparing for a show.

I also was involved with the Union Gallery behind the scenes. I worked with Jocelyn Purdie on many exhibitions and projects. I was on the board of the Union in 2005 and 2006, serving as the Treasurer and then the Communications Chair. This experience was invaluable – the skills I gained while serving on the board gave me the solid foundation I needed to work in the cultural community following my degree.

Following my time at the Union, I worked for a number of galleries and institutions, as well as organized arts projects. My experience serving on the board at of the Union contributed to my ability to help these organizations, as well as secure me the position. Immediately following my BFA, I worked for The White Cube Gallery and subsequently for the Barbican Arts Centre, The Whitechapel Gallery and Pangolin London Gallery (all London, UK). Recently, I developed a sculpture project for the Hazelton Hotel in Toronto called the “Hazelton Plinth” and I currently am developing a number of commissioned projects in Brooklyn, NY, as well as volunteering with the Canadian Friends of the Israel Museum.

While at Queen’s, the Union Gallery was also a wonderful space to learn about art and artists. The Union brought exceptional visiting artists to the campus and provided the students with an opportunity to engage and learn form these visiting professionals. Apart from showing student artwork, the Union would showcase art from the Kingston community and beyond, providing a place for an exchange of ideas and a fabulous student learning experience. In many respects, I would argue that the Queen’s BFA taught me the technical skills to be an artist, but working with the Union Gallery taught me how to be an artistic professional.

While my experience of the Union Gallery did come largely through my connections to the gallery as a visual artist, I also encountered many students form other backgrounds and departments engaging with art and the community through the space. It was a meeting point as well as a space for many to just sit quietly and reflect.

I do not have the statistics behind this, but I think it is fair to say that almost every degree offering institution, and especially those with a visual arts degree, has a student gallery. This space becomes essential as a resource for the visual arts student, but also reaches a larger audience of students – those who might have a love for art, as well as those who may have never been exposed to art before. How can a university such as Queen’s deprive their own community of the chance to be involved with an organization of this quality and commitment to the community? How can you deny your students, those enrolled in the BFA or not, the opportunity to experience art and culture created by their peers – to meet and discuss ideas with the next generation of Canadian artists and cultural professionals?

When I was looking at universities after high school, I visited many with my parents and went on a lot of campus tours. I read a lot of university brochures and I spoke with many people about their university experiences. In deciding to go Queen’s, which offered a more “well rounded” education, instead of a “fine art only” education, I was excited to have opportunities not strictly related to my program, but ones that would allow me to grow within a professional context and prepare me for the future. That’s what the Union Gallery did for me.

I remember seeing the space in 2001 with my parents when we visited Kingston for the day – a gallery in the library – exactly what I wanted, an art experience within the larger context of a great Canadian university. My decision to accept my placement at Queen’s was on one hand due to the program itself, but also due to the university culture and opportunities offered. Sadly, it seems these opportunities are vanishing before my very eyes.

I hope that you consider this letter in your decision. The Union Gallery has incredible potential to grow and help define the student experience at Queen’s. I strongly hope the university will support the gallery during this time of need – both financially and with a strategic plan – to continue to serve the student body and community.


Samantha Mogelonsky (Queen’s BFAH 2006)


I was working on this small commission project to adapt the sculpture Pinwheel I from full colour to black, white and gold. The new sculpture, Pinwheel II, does just that. I darkened the steel structure to play off the black sequins.

Affiche_bilingue_Vu d'ici_Q des cultures_H14

Come join us at Vu d’Ici – an exhibition curated by Studio Beluga as part of the Quinzaine de Cultures Festival.

À travers les œuvres de peintres, de photographes et de dessinateurs, l’exposition Vu d’Ici présente des perspectives originales sur l’éventail des communautés et des identités juives montréalaises.

Vernissage: Tuesday March 25th from 6pm to 9pm
Exhibition runs: Monday 24th – April 4th
Monday to Thurs. 11am to 7pm
Friday 11am to 4pm
At the Agora Gallery at the Cegep de vieux Montreal

Featuring Artists:
Adida Khavous
Sam Mogelonsky
Joanathan Bessaci
Ellen Bleiwas
Kitra Cahana
Tamira Cahana
Brian Corber
Daniel Elkeslassy
Lynda Granastein
Miles Greenberg
Henri Hadida
Cassidy Lerman
Delphine Lewis
Leslie Schachter
Jonathan Schouela

I’ll be showing at the Quinzaine des Cultures exhibit in collaboration with the Cegep de vieux Montreal, curated by Studio Beluga at Gallery Agora from March 20th – April 4th.





Friday, April 4, 2014 – Friday, May 9, 2014

Opening Reception: April 4th, 6:00- 9:00 PM

Publication Launch: April 4 2014, 6:00- 9:00 PM

Forest City Gallery, 258 Richmond Street, London, ON

Forest City Gallery is proud to present Extra Ordinary the curatorial debut of Jenna Faye Powell, featuring emerging-artists Matt King, Sam Mogelonsky and Bree Zorel.

About the Exhibition:

Seduction is a powerful thing. Seduction, here, is not limited to just the animate – objects too have the ability to entice a second glance, to provoke feelings of infatuation. The artists chosen for this exhibition have crafted works that may seem too shiny, too humourous or too ubiquitous to hold any other agenda than that of tempting their viewer. Yet, while the drawings, sculptures and things in this exhibition draw us in for one reason, they keep us attuned for another. They are masters of the double-take.

Works featured in Extra Ordinary speak to the excess of everyday objects, whether it be a pile of used books or a junk-drawer-amount of thumb-tacks; items that are so further, beyond commonplace, so ordinary, they are extraordinary. Artists in this exhibition transform unremarkable objects to first optically captivate and then interrogate. Taking cues from the Situationists of the 1960s, humour and a lite-heartedness is employed to subvert or destabilize the everyday, allowing new engagement with our worlds. Upon closer inspection of the works in this exhibition infatuation fades and colours dim, permitting social commentary around the everyday, consumerism, and everyday consumerism, to emerge.

-Jenna Faye Powell



Bree Zorel

Born and raised in Calgary, Bree Zorel is an artist and art educator currently living and working in Toronto. She holds a BFA from Alberta College of Art + Design, and an MFA from NSCAD University. Her artworks utilize diverse media to investigate the relationship between art and everyday life, and explore the performative possibilities of everyday circumstances. Characterized by a self-conscious optimism and a mixture of humour and pathos, her works shift continually, crystallizing in formations of drawing, sculpture, video, textiles, and photographs that alternate between artworks and documentation of actions and activities. Playfully DIY, her use of materials tends towards the provisional, using a makeshift yet heartfelt aesthetic to invite in the viewer an acknowledgment and acceptance of imperfection and the unfinished nature of the human project.  The near-failure of the materials symbolically calls attention to the social, cultural and personal failures we experience every day, and thus situates itself at a starting point for rebuilding.  In Zorel’s current series of drawings, imaginary book covers describe the mundane experiences of daily life, while also inviting modestly magical interventions.  Fictional instructional manuals, storybooks, and puzzles interject hope and laughter into the experience of the daily struggles and frustrations of surviving as a young artist in Canada.  


Matt King

Matt King is an emerging artist and musician based in Toronto, Ontario. Matt holds a diploma from Ontario College of Art in Integrated Media and a Bachelor of Fine Arts also from OCAD Univeristy. His current practice explores the language of visual symbols and the malleability of information conveyed. Slight alterations to an object’s expected physical characteristics or visual context can implicate new meanings through a viewer’s interpretation. King’s focus is the re-contextualization of representation and he aspires to create a disruption between expectation and experience. King continues to exhibit his works locally and nationally most recently in Micah Lexier’s curatorial project, More than Two: It Makes Itself exhibited at the Power Plant in Toronto. Matt co-currently performs in the art-rock band, Absolutely Free.