2026 information
THIRD SHIFT ARTISTS
- Brandon Hoax
- Tina Sharapova
- Oluuji Olusoga
- Emma Delaney & Gillian Salmon
- Ariana Pirela Sánchez
- Jean Hudson
- Kye Go
- Petra & 5 Hands
- Autumn Star
- David Clark
Trickster in the Long Grass
You can check out Trickster in the Long Grass and more at King’s Square on Saturday, the 15th of August!
Wanderer’s Way
You can check out Wanderer’s Way and more at King’s Square on Saturday, the 15th of August!
Wear Do Garments Gather
“Wear Do Garments Gather” is a public installation addressing the growing global crisis of textile waste by transforming discarded garments into sculptural forms. Using salvaged clothing and excess textiles as a primary medium, the project seeks to breathe new life into materials that have been designated as waste, while reflecting on the complex social and environmental systems embedded within everyday clothing. Each garment carries the invisible labour of the people who produced it and the identity of the person who once wore it. Rather than treating these items as disposable waste, the project approaches them with care and reverence, recognizing the human effort and lived experiences embedded within their fabric. The empathy towards these garments is informed by the artist’s socioeconomic background, growing up in Nigeria and being an immigrant in Canada. The installation consists of reconstructed garments suspended and softly illuminated from within. Ideally installed outdoors among trees with tree-safe rigging, transforming the urban landscape into a forest of floating, glowing textile pillars. Visitors are invited to walk through this forest, encountering forms that evoke both human presence and absence. Inviting awe and curiosity in the face of unnecessary consumption. The setting becomes a metaphor for the environmental impact of textile waste.
You can check out Wear Do Garments Gather and more at King’s Square on Saturday, the 15th of August!
Oluuji Olusoga (he/him) (@Oluuji) is a self-taught Nigerian-born visual artist based in Winnipeg, Canada, working across painting, installation, textile and media arts. He approaches each medium as a way of thinking through different conditions of experience, allowing ideas to shift form depending on their context. His multidisciplinary practice explores diaspora as a relational identity, examining the systems of memory that influence how identity is constructed and maintained in the diaspora, navigating the collective tension between the desire to belong and the need to maintain one’s indigenous identity. His work draws from both institutional archives and quieter, everyday forms of archiving that exist in objects, garments, images, and emerging cloud-based systems of memory.
LATCHED
“LATCHED” proposes a large-scale interactive latch hooking installation that blends traditional craft practices with found industrial materials. The work will consist of several large wooden frames strung with high-visibility safety fencing, which will act as the mesh foundation for an evolving communal textile. Using salvaged materials such as old tarps, vinyl tablecloths, and plastic sheeting cut into strips, participants will be invited to latch hook directly into the fencing structure. These materials replace the wool yarn typically used in vintage latch hooking kits, creating a bold, colourful
surface that grows throughout the festival. The frames will hold both completed sections and areas in progress, with tools and materials available so festival-goers can sit, experiment, and contribute to the work. Artists will intermittently work within the installation, modelling the process and welcoming participation, allowing the piece to function as both a visual installation and a performative, relational artwork. To encourage independent interaction, laminated instruction cards and posters will be displayed on site, providing a simple step-by-step guide showing how to latch the materials into the fencing. This allows the work to remain active and accessible even when the artists are not physically present.
You can check out LATCHED and more at King’s Square on Saturday, the 15th of August!
Emma Delaney and Gillian Salmon are New Brunswick–based multidisciplinary artists working across fibre arts, storytelling, and community-engaged practices.
Emma Delaney (she/her) (@emmadelaneystudio) is an artist and creative arts educator from Moncton, New Brunswick. She holds a Bachelor of Fine Arts from Mount Allison University (2020) and a Bachelor of Education (2022). Emma works with students aged 5–18 and integrates traditional craft techniques into her teaching practice. Prior to her career in education, she spent time living and working in a small fishing community where she expanded her artistic practice through learning trades such as raku ceramics, rug hooking, and other fibre arts. These experiences continue to inform her approach to both art making and pedagogy, shaping a practice that values community knowledge, hands-on learning, and the connection between artist and teacher.
Gillian Salmon (she/her) (@gill_salmon) is a multidisciplinary visual artist and graduate of the New Brunswick College of Craft and Design’s Foundation Visual Arts program. Her practice spans writing, performance, film, and comedy alongside textile-based work. Gillian’s writing has been featured at the NotaBle Acts Theatre Festival, and she is a graduate of the Second City Conservatory where she studied sketch comedy writing and improvisation. Her current visual practice focuses on fibre processes including rug hooking, weaving, knitting, and embroidery, often incorporating cyanotype and botanical monoprint techniques.
Together, Emma and Gillian share a deep interest in fibre traditions, arts education, and community engagement. Their collaborative work explores traditional craft processes through playful experimentation and participatory making, creating spaces where audiences are invited to engage directly with materials and contribute to the creative process.
Lo visible y lo imperceptible
“Lo visible y lo imperceptible” is a performative installation that explores the invisible structures that connect bodies, memories, and collective histories. Inspired by the Wayúu legend of Wale’kerü—the weaving spider who teaches the art of weaving—the project uses thread as both material and metaphor. Stretching across the site, a network of threads creates a temporary environment where movement, space, and attention become intertwined. Within this woven landscape, the performer slowly navigates, ties, untangles, and reconnects threads. These simple actions transform weaving into a choreographic practice that unfolds over time, revealing relationships that are often present but remain unseen. Knots, tensions, and connections become traces of memory, transmission, and shared experience.
Rather than presenting a fixed narrative, the installation invites audiences into a space of observation and encounter. Visitors are free to move around the work, pause, approach, or witness it from a distance, creating their own relationship with the evolving structure.As the installation develops, the web becomes a living cartography of connections between bodies, gestures, stories, and places. The visible act of weaving gradually reveals imperceptible networks that sustain individual and collective life.
Combining performance, installation, and site-responsive practice, “Lo visible y lo imperceptible” transforms public space into an environment of attention and reflection. Through the simple act of weaving and unweaving, the work suggests that every movement reverberates beyond itself, affecting a larger fabric than we can fully perceive. It is an invitation to reflect on our interdependence and on the invisible threads that connect us to one another, reminding us that no body, story, or life exists in isolation.
You can check out Lo visible y lo imperceptible and more at King’s Square on Saturday, the 15th of August!
Ariana Pirela Sánchez (she/her) (@arianapirelasanchez) is a Venezuelan-born dance artist, choreographer, performer, and dance filmmaker based in Montréal. Her practice unfolds at the intersection of choreography, performance, moving image, and site-responsive work. Through physically rigorous and sensory-driven processes, she explores the body as a territory of perception, memory, and transformation. Her works investigate how attention, movement, rhythm, and environment shape embodied experience and human connection. Ariana’s creations have been presented internationally in Canada, Mexico, Spain, Belgium, Cuba, Argentina, Italy, and Venezuela. Alongside her artistic practice, she develops cultural mediation projects exploring body, space, and belonging.
The Orange Traffic Tone
“The Orange Traffic Tone” is a large-scale (5’ tall) interactive sculpture modelled after an orange traffic cone — a familiar symbol of redirection, caution, and temporary control. Constructed from reclaimed metal, the work transforms an object typically associated with restriction into a resonant instrument of collective play. Participants release a solid hard ball into the apex of the cone. Guided by a series of curved planes welded around a centre pipe, the ball descends through the structure, striking surfaces and producing tones as it travels. The traffic cone is a device designed to alter behaviour. It reroutes traffic, interrupts momentum, and reorganizes space without force. It is temporary yet authoritative — a lightweight object capable of reshaping movement on a large scale. By enlarging this form and inviting interaction,
the sculpture exposes the quiet power embedded in everyday infrastructure.
Reclaimed metal reinforces this idea of redirected purpose. Materials once part of oil drums are reconfigured into a framework that guides energy into sound. What once carried oil now carries rhythm. As balls travel through the cone, impacts accumulate into an evolving soundscape shaped by public participation. The work becomes a living diagram of how systems operate: flow structured by design, participation shaped by architecture.
“TheOrange Traffic Tone” invites viewers to consider the frameworks that direct contemporary life — urban planning, communication networks, social rules — and to question how movement is guided, constrained, and reimagined. In this re-scaled cone, control becomes collaboration, and redirection and a channel becomes shared experience.
You can check out The Orange Traffic Tone and more at King’s Square on Saturday, the 15th of August!
Jean Hudson (she/her) (www.jhudsonart.ca) is a self-taught artist who works, along with her partner Jack, from her studio near Fredericton, NB. Inspired by nature and committed to caring for the environment, Jean uses both new and reclaimed metal to create large, striking artworks. She especially enjoys making site-specific public art. Jean takes time to understand each location and its community, aiming to start conversations through her work. Every piece is carefully designed to share a message and encourage people to look deeper. Through her art, Jean highlights the power of creativity to transform public spaces and strengthen the cultural life of a place.
Off Shore
“Off Shore” will present the following 15 sculptures, with the final selection subject to change should additional works be completed before August 15. The exhibition examines artificial intelligence and the environmental and societal consequences associated with its rapid expansion. The project is particularly timely given the proposed data centre development in Lorneville. The installation will feature an office cubicle with a mannequin serving as a reception desk at the exhibition entrance. Many of the sculptures are wall-mounted works that will be displayed along the chain-link fence at the site behind the Imperial Theatre. The remaining pieces will be installed either directly on the ground or on pedestals, depending on the requirements of each work. Existing overhead lighting from the adjacent building and parking lot will illuminate the space, supplemented by additional lamps as needed. Sculptures will be arranged to guide visitors naturally through the installation and create a clear sense of movement and flow throughout the site. While some minor details are still being finalized, the overall exhibition plan is well developed, and I have a clear understanding of the tasks required to complete the project.
You can check out Off Shore and more at Imperial Theatre on Saturday, the 15th of August!
KYEGO (he/they) (@kyegoart) is a contemporary artist based in Atlantic Canada whose work responds directly to the social and political tensions of the present. Since 2019, they have developed projects shaped by close observation of environmental collapse, political instability, and eroding public trust. Working with found and reclaimed materials, such as discarded plastics, industrial debris, and fragments of surveillance technology, they cut, reassemble, and recontextualize these elements into charged installations and objects. What begins as observation becomes intervention: systems of power, consumption, and control are not only exposed, but physically disrupted and reconfigured.
Details coming soon!
Details coming soon!
The snails – stab each other with love darts.
The “snail telegram” was a failed 19th-century invention based on the pseudoscientific belief that once snails “touched”, they shared a permanent, telepathic connection. Meaning no matter how far away they were, they could send thoughts to each other. It involved 24 pairs of snails, each representing a letter, to send messages via channelled sympathetic escargotic vibrations, but it never successfully functioned. Snails hold a multitude of metaphors to offer us; this is due to their deceptive anatomy. This sculpture showcases the merging bodies of humanoid snail creatures experiencing the moment of “courtship” before separation. Snails carry soft bodies exposed but protected by the shell. One can find meaning in the delicate balance between openness and self-preservation. It encourages us to embrace our sensitivity as a strength, recognizing that the Snail’s slow and deliberate pace channels patience, both with ourselves and with the unfolding of our lives.
You can check out The snails – stab each other with love darts and more at King’s Square on Saturday, the 15th of August!
B. (1998) Autumn Star (she/her) (@_probablyautumn) is an interdisciplinary artist from the prairies. In 2020, Star received a Visual Arts Diploma from Red Deer Polytechnic, then moved to Calgary to earn her Bachelor’s of Fine Arts from Alberta University of the Arts in 2023, with a major in drawing and a minor in sculpture. Followed by moving across Canada to Nova Scotia where she obtained a Master’s of Fine Arts from NSCAD University in 2025. Star works in a variety of mediums including sculpture, drawing, poetry, painting and film making to engage in a radical process of myth-making and experimental mark-making. By using her hands and head she creates space for a figural-focused embodied art practice that features the poetics of strange colorful creatures laced with emotion. Her paintings often carry eco feminist values from a thoughtfully queer ‘fem’ perspective.
GaGe
You can check out GaGe and more at Imperial Theatre on Saturday, the 15th of August!
David Clark (he/him) (www.chemicalpictures.com) is a media artist, filmmaker, radio producer, and writer known for interactive works that combine philosophy, storytelling, and experimental media. His internet artworks and installations weave together narrative fragments, ideas, and digressions to explore how meaning emerges through narrative, poetry, image, accident, and emotion. Clark holds an MFA in Sculpture from the Art Institute of Chicago and an MFA in Creative Nonfiction from King’s College in Halifax. His work has been presented at more than 150 festivals and venues worldwide, including Sundance, SIGGRAPH, Transmediale, the European Media Arts Festival, and the Museum of the Moving Image. He has received major awards at FILE (São Paulo), SXSW Interactive, Cinema Tous Ecrans, and the 2011 Lieutenant Governor of Nova Scotia Masterworks Award. Clark is Professor of Expanded Media at NSCAD University in Halifax.
THIRD SHIFT
COMMUNITY PARTNERS
Details coming soon!
Key Industries Inc. (@keyindustries1) is a Saint John-based organization that empowers individuals with disabilities through employment support, life skills training, and inclusive community programs. As part of their creative team, Sarah Gorospe (she/her), a Filipina artist and immigrant, contributes to the organization’s mission by facilitating expressive, hands-on art sessions that promote confidence, connection, and self-expression. Her work supports Key’s commitment to fostering dignity, purpose, and opportunity for all participants. Through collaboration and creativity, Sarah helps create welcoming spaces where individuals are encouraged to grow, belong, and thrive—reflecting the heart of Key Industries’ vision for inclusive community impact.
Details coming soon!
The I-Click Photography Project (@willowyouthprojects) is dedicated to amplifying youth voices through visual storytelling. Youth from the Teen Resource Centre are guided through a process of identity exploration, build confidence in how they would like their stories told, and learn to use professional cameras to represent their narratives. Through a combination of group and individual sessions in partnership with the Saint John Arts Centre, youth develop photography skills and learn the art of storytelling through visual representation. It culminates into a final exhibition showcasing what each youth feels are important for our community to understand about who they are and what they have experienced.
Artists: Iman Abdalla, Elizabeth Adeyeri, Asmaa Al Rajeh, John Archer, Cécile Carson, Halo Cass, Kayleigh Crandall, Kaylee Duffield, Casidy Jones, Brooke Killam, Sawyer Lyons, Jason Marr, Kaleena Mckee, Jordan McKinnon, Trevlin Morris, and Alli Thomas
THIRD watch ARTISTS
- Frida Jiaying Chen
- sophia bartholomew
- The Powers
- Amy Siegel
- Jullian Young
- Lynda Hall
- Ben Gorodetsky
- Jeighk Koyote
- Simon Ruscinski and Gabby Tomlinson
- Grace Stamler
- Brian R Donnelly
- Daze Jefferies + B.G-Osborne
- Brandon Lorimer
- Brooke Moss
A world that you left behind
In this experimental video essay, the “I” revisits a constellation of political ruptures and collective memories that unfolded after 2019-the year of their grandfather’s death. Structured as a letter addressed to him, the film reflects on how the “afterlife” he left behind —familial, social, and political —has continued to transform in his absence. The grandfather here becomes both an intimate witness and a symbolic interlocutor, someone shaped by another historical epoch to whom the present must now be explained. Through this epistolary form, the “I” recounts a world increasingly defined by mediation and instability. The film weaves together fragments of what Hito Steyerl terms “poor images”: compressed, low-resolution visuals that circulate through digital networks and accumulate meaning through repetition and degradation. Drawing from found footage, news clips, online archives, social media reels, and livestream recordings, the work assembles dispersed traces of events such as the COVID-19 pandemic, imperialist projects, far-right protests, and hyper-technological robot performances. Rather than presenting a coherent narrative, the film constructs an unstable visual field in which history appears as an overwhelming stream of recirculated images. Mourning becomes both personal and collective: a way of grappling with loss in an era of digital saturation, political polarization, and technological acceleration. By addressing the grandfather across the threshold of death, the “I” questions what kind of world has emerged since 2019-and whether it can still be meaningfully narrated or shared.
You can check out A world that you left behind and more on Friday, August 14th at the Saint John Arts Centre!
short dreams
“short dreams” is a video short, unfolding small, daily experiences of gender fluidity, intimacy and play, while grappling with loss, physical fragility and my partner’s terminal, degenerative illness diagnosis. I shot this video with my late partner, Richard Laviolette, four months before his death. Following the rapid onset of Huntington’s Disease symptoms, compounded by other complex health issues, his health deteriorated very quickly and at age 41 he chose a medically assisted death.
You can check out short dreams and more on Friday, August 14th at the Saint John Arts Centre!
Hot Pursuit: The Fabled Chase
“Hot Pursuit: The Fabled Chase” is a new body of work by The Powers that draws inspiration from The Hunt of the Unicorn tapestries created in the Netherlands between 1495 and 1500. The Unicorn and Virgin symbolism in the tapestries has been read multiple ways: as Christian allegory, psychological archetype, as well as a myth that reiterates “sexual purity” as a virtue. Fascinated by the complexity and evolution of this mythology, The Powers rewrite their own version of this story restoring the virgin and unicorn’s monstrous qualities, and allowing them to play out their own perverse desires. They do away with the Virgin as a symbol of purity and present both figures – the Unicorn and Virgin – as embodied, campy, horny, and trashy. The underlying ethos of their new narrative is that “non-innocence” is an ethical necessity, as well as an ecological reality.
You can check out Hot Pursuit: The Fabled Chase and more on Friday, August 14th at the Saint John Arts Centre!
The Powers is the collaborative practice of Katherine Kline (she/her) (@misschippies), Jessica Mensch (she/her) (@jessica_mensch), and Emily Pelstring (she/her) (@_em_bo_). Founded in 2014, The Powers operates as a band, research collective, and interdisciplinary performance group, weaving alternate realities through video, music, storytelling, choreography, and ritual-inflected performance. Their work constructs alternative feminist mythologies across stage, screen, and gallery contexts. The collective has presented and exhibited at venues including the RISD Museum, Hesse Flatow, Oddstream, Feminist Media Studio, Musagetes Foundation, Artcite, Indexical, and the Cape Breton University Gallery. They co-directed the SSHRC-funded Sistership TV (2019–2020), later adapted for stages and exhibitions coinciding with the vinyl release of their album, Tentacles (2023).
Dike Bar
An archive of queer and trans experience in the town of Sackville, New Brunswick, weaving several strands of thought through intimate conversation: a children’s folktale, queer rurality, rising sea levels, and anti-queer legislation. Dike Bar explores the precarity of both the physical landscape, and these queer rural and liminal spaces. This project seeks to acknowledge this historical moment in trans and queer rural Maritime history and foster new connections. How do we plug all the holes we see forming in our worlds?
You can check out Dike Bar and more on Friday, August 14th at the Saint John Arts Centre!
Resaerate
“Resaerate” is an experimental, data driven 3D animation that reflects on the human relationship to landscape in the aftermath of environmental catastrophe. On December 30th, 2021 the Marshall Fire ripped through Boulder county, Colorado fueled by high winds and dry conditions, and took with it over 1,000 homes and structures. This video is inspired by resilience in the face of climate crisis and the reconfiguring of our connection to wind and air quality in particular. The animation is comprised of over a dozen landscape scans collected on the front range of Colorado over the course of three seasons. Hovering over the landscapes is a three dimensional representation of indoor air quality provided by the Hannigan Air Quality and Technology Research Lab collected in the months after the Marshall Fire. The eventual splintering and collapse of the object opens up the view to a single ponderosa pine tree while the accompanying audio is a series of layered and sonified data of wind speed and wind gust measurements taken on December 30th, 2021.
You can check out Resaerate and more on Friday, August 14th at the Saint John Arts Centre!
Jullian Young (she/they) (@jullianyoung) is a multidisciplinary artist based in Chicago, where she is an Assistant Professor at Northern Illinois University. Her work has been exhibited at venues such as Meow Wolf Convergence Station in Denver, the Ars Electronica Festival in Austria, VivaTech in Paris, the MOMus Centre for the Arts in Greece, and SOFA Chicago. Through her practice, she investigates how we orient ourselves within entangled ecologies, raising questions about who holds agency, who bears consequence, and how we might come to recognize and respond to the weight of our place within them.
Nancy
“Nancy” is an evocative, personal documentary film about the impact of adoption, in which the filmmaker travels to Thunder Bay, Ontario seeking a connection to her roots. The film weaves together footage shot on location in 2023, with digitized black and white super 8 film shot in the 1990s, and the reading of a letter written to the filmmaker by her natal or “birth” mother Nancy. These narrative threads run adjacent to one another, at times interconnecting – as when the words spoken are represented by places seen in the images – but more often remaining separate and concurrent, reflecting the disconnection the filmmaker feels between herself and her biological roots.
You can check out Nancy and more on Friday, August 14th at the Saint John Arts Centre!
Izabella’s Voice
“Izabella’s Voice” transforms immigrant experiences of memory, language, and melody, through 49 performances, over 49 days, in 49 public locations around Kitchener-Waterloo, using a collaged soundtrack of my 90 year old grandmother singing and reciting poetry and prayer from memory. Revolutionary ballads from her youth in 1930s Kharkiv, Ukraine – USSR, poems from the eastern front lines of WWII, social songs from distant soirees and summer camps all but lost in time and space. Her fallible memory, wavering voice, and ever-present hacking cough shape the recordings into a fragile and bittersweet collage. Using the visual language of drag
and political street theatre, these recordings become a reclamation of immigrant history and cultural residue through serial public performance. Oral history, untranslated language, and private song set against a vibrant backdrop of community spaces and public sites of urban connection.
You can check out Izabella’s Voice and more on Friday, August 14th at the Saint John Arts Centre!
Ben Gorodetsky (he/they) (@papagorodetsky) is a performance and video artist based in Kitchener, Ontario. Their work has been presented by The Art Gallery of Ontario, CAFKA, Movement Research at Judson Church, The Tank NYC, and LUMEN. Ben is the founder-director of the award-winning Pinch Arts Company. He was the 2022 artist-in-residence with Guelph Dance Fest, winner of the Edmonton Emerging Artist Award, recipient of the Anna Pidruchney Young Writers Award, and a nominee for a Canadian Comedy Award and a Waterloo Region Arts Award. They’re the creator and executive producer of “MY PET ATE WHAT!?” a docuseries for CTV Wild. Ben holds an MFA from Brooklyn College-CUNY, a BFA from the University of Alberta, and teaches video and performance at UWaterloo.
like this
“like this” is a Super 8 short (3:40 min) archiving personal memory through a collection of layered visuals and audio of the everyday. The abstract film plays like a memory – skipping between moments that are sometimes clear, sometimes distorted. Images flip between watering plants, children’s feet hopping, hands petting animals, lily pads on a lake and more. The fragmented scenes never reveal a person’s face and instead focus on the subtleties of gestures to simulate a feeling rather than a conscious cognitive experience. The project was created in response to the artist’s personal experience of a mental health crisis and the navigation of barriers in accessing timely professional services. To survive a series of devastating hardships with no immediate access to mental health support, the artist began to archive mundane moments in the everyday that held them through a time of turbulence. The moments became a memory bank from which the drew gratitude and resilience to continue moving forward. The film is a soft demonstration of cultivating internal resilience found within our communities and the nourishment of simple every day acts that could ease a nervous system. These are not replacement notions for professional services but rather a place-holder while waiting to access support. The film is a personalized recount of this in-between time, and just like reading a published diary, it is not prescriptive to anyone else but perhaps serves to prompt a curiosity for the viewer’s own experience.
You can check out like this and more on Friday, August 14th at the Saint John Arts Centre!
Jeighk (they/them) (https://www.jeighkkoyote.com/) is a non-binary, self-taught interdisciplinary artist based out of K’jipuktuk/Halifax, unceded Mi’kmaq Territory. They work in a diverse range of mediums that have included mixed-media sculpture, performance art, shadow puppetry and both permanent and one-night festival public art installations. Jeighk has participated in several residencies throughout Nova Scotia and in Ontario. In 2024 they premiered their first feature-length shadow show: Ocean Kin at the Bus Stop Theatre, Halifax, NS with a maritime tour planned for this coming September 2026. Jeighk’s work exists primarily outside of the gallery setting and more in the live and public sphere. They are interested in multi-dimensional world building leaning into themes of mental health, non-binary bodies and the natural world. They like early morning studio routines, listening to the radio and playing dress-up.
Fan Mail
A filmmaker in trouble. An email that echoes through time and space. Utilizing new Hi8 recordings, public domain videos from the internet, and reconfigured footage from Simon Ruscinski’s “Premium Pornography”, we enter into the mind of a filmmaker struggling to manage his newfound fame.
You can check out Fan Mail and more on Friday, August 14th at the Saint John Arts Centre!
Cake It
“Cake It” is an experimental video that uses personified cakes in critique of how capitalism commodifies figures of power, turning them into fleeting, consumable objects. Using rapid-cut editing, vibrant colours, and glitchy imagery, the piece reflects on the ephemerality of iconolatry and iconoclasm. By exploring the religiosity in how modern capitalism is collectively worshipped, “Cake It” exposes its make-believe nature. Thus, the opportunity to reclaim personal agency in a commodified world.
You can check out Cake It and more on Friday, August 14th at the Saint John Arts Centre!
Goin’ Down The Road
Goin’ Down The Road is an ongoing project that navigates Toronto through a psychogeographic lens, using popular films to propel the narrative. Relying on films’ inherent unfaithfulness to geography, a few dialogue cues, and a great deal of coincidence, scenes from disparate films intersect and redirect each other to follow geographic patterns rather than their individual stories. Compositing closely cropped professional footage over wide-angle, contemporary video yields a disjointed document that captures the growth of a city over several decades, distilling a small amount of truth from a growing library of fiction.
You can check out Goin’ Down The Road and more on Friday, August 14th at the Saint John Arts Centre!
Brian R. Donnelly (b. 1979) (he/him) (instagram.com/torontofilmboard) began his career as a painter. Exhibiting internationally since 2007, he began experimenting with video in 2018. His work has been included in museum screenings and multiple international film festivals, taking top honours for experimental film at Toronto Film Week (2025), Screener Short Film Fest (2024), and the Façade Video Festival (2024).
This caress fathoms
“this caress fathoms” is a collaborative audiovisual work by Daze Jefferies + B.G-Osborne, is an intimate expression of love and longing within rural trans childhood. Revisiting family visual archives, and recounting desire through poetry and song, this work is imagined as an estuary, the interflowing transitional space where freshwater and saltwater meet.
You can check out this caress fathoms and more on Friday, August 14th at the Saint John Arts Centre!
Select Your Character
A skeletal being sits before an oppressive white screen, listless and without identity. They re prompted to select their character and bristle at the monotony they know too well, all the characters meaning as much as the last in the grotesque simplicity of the digital world. They feel the weight of the decision wear them down as they dismissively flick through the choices that all merge into one, until they see something that speaks to their soul— an opt out.
You can check out Select Your Character and more on Friday, August 14th at the Saint John Arts Centre!
The Cones
“The Cones” is a fragmented visual sequence poem that explores bereavement through an experimental lens. The ways in which grief appears in our lives after the death of a loved one and the pieces of our identity that are severed along with the loss. It follows one individual suffering from an unknown loss and feeling isolated as a result. Through the absence of other characters and lack of dialogue, the environment/mood is intended to feel dissociative in a way that speaks to anyone who has experienced grief. Dressed in all black, the individual is meant to exist in a perpetual state of mourning, with the cones acting as a colourful contrast. The cones are indicative of the individual’s state and are meant to signify the weight of the grief.
You can check out The Cones and more on Friday, August 14th at the Saint John Arts Centre!
Brooke Moss (she/her) (@bmoss23) is an emerging interdisciplinary artist with a strong focus in film, poetry and traditional art. Born and raised in the quaint town of Grand Bay-Westfield, New Brunswick, she also spends her time in Toronto, Ontario where she received a Bachelor of Arts with Honours from York University (2026). Recipient of the 2025 Priscila Uppal Poetry Prize, she weaves poetic elements into all of her creative work. Faithful to her name, Brooke prioritizes her relationship to Mother Nature and can often be found hugging trees, tending to the birds she feeds, identifying clouds, or worshipping the moon.