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Image caption: The 2021-22 recipients of distinguished research awards are Dr. Gerald McMaster, Dr. Alexis Morris and Professor Ilene Sova.

Three faculty members recognized for outstanding achievements in research

Three faculty members are being recognized for their innovative contributions to research with the presentation of awards that celebrate distinguished and early stage research activities at OCAD University.  

Dr. Gerald McMaster, Canada Research Chair (Tier I) of Indigenous Visual Culture and Curatorial Practice, is the 2021-22 recipient of the OCAD University Award for Distinguished Research, Scholarship and Creative Activity. 

This award recognizes faculty members for their outstanding portfolio of research, scholarship and creative activity, and the impact that this activity has had on the broad spectrum of art and design research and practice internationally. The award also recognizes contributions toward undergraduate and graduate research and scholarly training.  

This year, the OCAD University Award for Excellence in Early Stage Research, Scholarship and Creative Activity is being shared by Dr. Alexis Morris, assistant professor in the Faculty of Arts and Sciences and Ilene Sova, assistant professor in the Faculty of Art and Chair of the Ada Slaight Contemporary Drawing and Painting program. 

This award recognizes promising, recently appointed faculty members for their outstanding promise to be distinguished researchers, scholars, artists and designers within a university context. 

OCAD University Award for Distinguished Research, Scholarship and Creative Activity 

Dr. Gerald McMaster

Dr. Gerald McMaster is a curator, artist and Canada Research Chair (Tier I) of Indigenous Visual Culture and Curatorial Practice. He is also a professor in the Faculty of Arts and Sciences and director of the Wapatah: Centre for Indigenous Visual Knowledge at OCAD University.  

With more than 40 years of working internationally in contemporary art, critical theory, museology and Indigenous aesthetics, Dr. McMaster has worked at institutions that include the Art Gallery of Ontario, Smithsonian National Museum of the American Indian and the Canadian Museum of Civilization.  

He was selected as the Canadian curator to the 1995 Venice Biennale and 2018 Venice Architecture Biennale. He served as the Canadian Commissioner to the 2010 Biennale of Sydney and the Artistic Director to the 18th Biennale of Sydney in 2012. His most recent book is entitled Iljuwas Bill Reid: Life & Work for Art Canada Institute (2020). Dr. McMaster is a nêhiyaw (Plains Cree) and a citizen of the Siksika Nation.  

OCAD University Award for Excellence in Early Stage Research, Scholarship and Creative Activity 

Dr. Alexis Morris

Dr. Alexis Morris is the Canada Research Chair (Tier II) in the Internet of Things and the director of the Adaptive Context Environments (ACE) Lab. His research transforms the way we interact with information, each other and the world by interweaving mixed reality and artificial intelligence.  

Dr. Morris is currently leading the talented ACE Lab team of OCAD U students, local researchers and collaborators in the design of mixed reality human-computer interfaces for the Internet of Things – one of the pillars of exponential change connecting our physical and informational worlds.  

An interdisciplinary computer scientist and a passionate techno-optimist, Dr. Morris hails from the Caribbean (Bahamas) and brings an eclectic international background and expertise in computer science to the OCAD University community. 

Ilene Sova

Professor Ilene Sova is the Ada Slaight Chair of Contemporary Drawing and Painting in the Faculty of Art at OCAD U. She identifies as mixed race, with white settler, Afro-Caribbean and Black Seminole ancestry. She is also an artist who lives with the disability of epilepsy.  
She passionately identifies with the tenets of intersectional feminism and has dedicated her creative career to art and activism. Sova is also the founder of the Feminist Art Collective and Blank Canvases, an in-school creative arts program for elementary school students.  

With extensive solo and group exhibitions in Canada and abroad, Professor Sova’s work has been most notably shown at the Museum of Canadian Contemporary Art, the Department of Canadian Heritage and Mutuo Centro de Arte in Barcelona.  

In her academic career, Professor Sova has trained educators on diversity and equity in the arts at the Art Gallery of Ontario and Harbourfront Centre. She also presented on decolonizing art curriculum with her colleague Nadia McLaren at Pratt University, the University of the Bahamas and the Association of Independent Colleges of Art and Design conference. In 2020, she was lauded in the national press for her development of a third-year studio cross-disciplinary course entitled COVID-19 Responsive Art. 

News Summary
The 2021-22 recipients of distinguished research awards are Dr. Gerald McMaster, Dr. Alexis Morris and Professor Ilene Sova.
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3 portraits of OCAD U faculty members from left to right, Dr. Gerald McMaster, Dr. Alexis Morris and Professor Ilene Sova.

Midnight Mountain by Rob Nicholls

The enchanted forest is arguably one of the oldest motifs in storytelling. Forests are spaces where anything can happen, characters’ morality and bravery are tested, and adventures unfurl. From the ancient Epic of Gilgamesh, where the heroes travel to the Cedar Forest to battle monsters, to J.R.R. Tolkien’s magical and mysterious Mirkwood to the musical Into the Woods, in which fairy tale characters face peril while learning life lessons, the metaphoric possibilities of stories set within the woods remain a rich ground for artistic exploration.

The same is true in visual art history. Although painting a century and a continent apart, the forests found in works by Jean-Honoré Fragonard (1732 – 1806) and Charles Burchfield (1893 – 1967) share an interest in the transcendental effect forests have upon the human psyche. Toronto-based Rob Nicholls cites both artists when discussing his own otherworldly paintings. “Fragonard’s landscapes are decadent, while Burchfield’s feel as if we’re stepping through a mystical portal, from one place into another,” he says. “The contrast between light and darkness animates their paintings and, with Fragonard especially, every form and shade of colour has been painstakingly thought out and orchestrated to slow down the viewing process.” Growing up on Vancouver Island, Nicholls says, was like “living in a fable,” with its surrounding water, mountains and giant fir and cedar trees. “That visual catalog is imprinted in my memory, as is Queen Elizabeth Park in Vancouver,” he says. “That park reminds me of a Fragonard painting, with caverns and hollows you could get lost in amongst the precisely planned abundant vegetation. I often think of it while I’m painting.” But, unlike a city park, Nicholls’s paintings are not completely pre-planned, though he is meticulous in his approach.

Nicholl’s prepares the painting surface with layers of gesso until, he says, it is as smooth as the hood of car. During this priming stage, he may develop ideas for a colour palette, and overall composition and mood, but he allows his paintings to progress intuitively. “It’s like puzzle pieces falling into place,” he says. “A cave here, a glimpse of a river through the foliage there, a waterfall, a volcanic pool… it’s rewarding to watch elements come together and to be surprised by the image as I’m making it.” Despite their flat surfaces, Nicholls’s paintings convey a sense of trompe l’oeil-like relief through exacting brushwork – he sees each stroke as ‘a ray of light’ – and a keen sense of perspective; their shimmering gem-like quality coming from the semi-transparent oil paint reflecting the light hitting the painted surface back at the viewer.

As well as painting, Nicholls composes subtly percolating ambient music in the vein of Steve Reich and Harold Budd under the name Provincial Parcs. Nicholls’ music is repetitively mediative (like his brushstrokes and painting process), so it’s surprising to learn about his youthful love of heavy metal. “I was a fan of the Much Music Power Hour back in the day,” he says. “The aesthetics of 1990s metal – album cover images of dark landscapes populated by fantastical plants and creatures – is another point of departure for my paintings.” Like a heavy metal song, Nicholls’s paintings lure us into a world where magic, mystery and menace await.

Essay by Bill Clarke - September 2022
Director Mark Zadorozny

Venue & Address
Mark Christopher Gallery
100 Symes Road

Midnight Mountain by Rob Nicholls

Opening: September 16, 7 pm to 10 pm
Friday, September 16 - Friday, September 30
Hours: Monday to Sunday from 11 am to 6 pm

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Midnight Mountain - Rob Nicholls

Image: Photo from Canadian Art Magazine by Christopher Dew.

OCAD U mourns the passing of Cathy Daley

Notable Canadian artist, beloved mentor and OCAD University Professor Emerita Cathy Daley passed away on March 2.   

In a message sent to the community on March 7, Stephen Foster, Dean of the Faculty of Art, extended his sincere condolences to Daley’s family and friends, and to all those in the community who had the pleasure of learning from her.  

“During her time at OCAD U, Cathy Daley was a tireless contributor to the Drawing and Painting program. In 1989, she created one of the earliest versions of our course, Issues of Representation. She was a sought-after instructor for her expertise in figuration, expression and experimentation,” wrote Dean Foster.  

A virtual gathering will be held on Wednesday, March 16 at 3 p.m. The community is invited to send thoughts, stories and photos to Melissa LaVallee, executive assistant to the Dean of the Faculty of Art, which will be shared at the memorial. Look for an invitation to the event with a Team's link in your OCAD U email. 

Over her 40-year career, Daley developed a unique body of work that was whimsical, dark, vivacious and empowering. She possessed an enduring preoccupation with the female form, which she mixed with considerations of popular culture and high fashion. She was best known for her monochrome drawings of semi-abstract female figures in motion, clothed in billowing black dresses, tutus and high heels.  

Daley received her Bachelor of Fine Arts from Ontario College of Art (OCA) in 1975 and began teaching at the University in 1988. She never missed a day in her studio and continued to make art even after falling ill. 

“Her artworks were simple, clean, smudged but unique, and a favourite among interior designers who placed her pieces in high-end homes across Toronto, and beyond,” wrote Nadja Sayej in an article about Daley published in Forbes on March 6.

Working predominantly with black pastel and charcoal on translucent vellum, Daley explored how women are represented through images and language in Western culture. She was also interested in the female body’s relationship to private and public space. 

“I was a student in one of Cathy's very first drawing classes in the late 1980s. Her class was impactful. She introduced me to many artists working in drawing that I did not hear about in my other classes. She opened my eyes to new ways of working,” remembers Adrienne Reynolds, a graduate of OCA, a practicing visual artist and an English for Art and Design Specialist in the Writing and Learning Centre at OCAD U. 

In the early 1990s, Daley gained attention with two related bodies of work for which she became known, a series of life-sized reclining nudes, executed in rich, solid black silhouettes and a group of small, melancholic paintings depicting women dressing and undressing in muted interiors. 

“[Her] drawings reflect a contemporary, post-feminist ambivalence toward fashion, critiquing the garment industry’s wrapped-and-bound feminine ideal and the notion of woman as spectacle. But irony in Daley’s cultural criticism is the source of much of the drawing’s wit. While recognizing the limitations imposed by old ideals, she also acknowledges their grace and appeal and expresses a certain nostalgia and yearning,” art critic Roni Feinstein wrote of her work in Art in America.

About Cathy Daley 

Cathy Daley was born in Toronto in 1955. In the 1970s she studied at the OCA as well as at Arts’ Sake Inc., an independent art school founded by eight OCA faculty members in 1977.  

Throughout her career she experimented with a range of media and techniques including abstraction, animation, sculpture, ceramics, collage, installation and digital painting. Apart from her work as a visual artist, in the 1990s she also designed sets and props for Toronto-based theatre productions. 

She taught at OCAD University until 2020, when she became Professor Emerita in the Faculty of Art. As an artist and educator she was an inspiration to generations of emerging artists. She was also involved in developing a number of new courses at OCAD U that incorporated feminist perspectives. 

"I took a course on collage with Cathy Daley that deeply impacted my artistic practice. She taught me about the importance of honouring the process as well as experimental approaches to drawing and painting. I am going to miss our talks and her words of encouragement. Cathy's legacy lives on through all of the lives she touched. There is goodness and magic in the world, her artwork taught me that,” reflects Carly McAskill, who graduated from OCAD U’s Drawing and Painting program in 2011 and is currently pursuing a PhD at Concordia University. 

Since 1980, Cathy Daley's works have been exhibited in galleries across the country including Oakville Galleries, the Art Gallery of Ontario, the Kelowna Art Gallery and Southern Alberta Gallery as well as internationally at the Museum Dhondt Dhaenens in Belgium and Galerie Den Haag in the Netherlands. 

Most notably, her works are in the collections of The National Gallery of Canada and The Art Gallery of Ontario as well as many other public institutions and private collections. 

In honour of her recent passing, Newzones Gallery of Contemporary Art in Calgary, Ontario has mounted an exhibition of her works. Newzones has been exhibiting Daley’s work for over thirty years.  

News Summary
On Wednesday, March 16, the University will hold a virtual memorial gathering at 3 p.m. to celebrate Cathy Daley's life and contributions.
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A photo of Cathy Daley standing in front of one of her drawings.
OCAD U remembers well-known artist and faculty member John Scott

The OCAD University community is mourning the passing of John Scott, a renowned artist and long-serving professor in the Faculty of Art. Professor Scott, who passed away on February 17, 2022, worked at OCAD University for 38 years before retiring in 2019.  
He had a dynamic career as a painter, installation and mixed-media artist, examining the dark sides of politics, war and human nature. He was an avid motorcyclist, inspired by the rock music, street styles and counter cultures of 1970s Toronto.  

"I was in awe of John. He was a humble and gentle human being. A genuine original with a unique vision and fierce connection to his art practice and his teaching,” remembers Senate Chair and Faculty of Art Professor Simone Jones. 

His art was bold and raw and often incorporated themes of power, class, anxiety and industrialization with dystopian undertones. He often used inexpensive materials for his drawings, describing himself as both a political activist and blue-collar artist.  

“John was one of the most knowledgeable people one could know. His encyclopedic mind would leap from Ulysses to science fiction. His critical insight was inimitable,” reflects Faculty of Art Professor Michèle White. 

More about John Scott 

Born in Windsor, Ontario in 1950, Scott worked in a factory and then an oil refinery after leaving high school at the age of 15. The boom in auto manufacturing and the union work he engaged in at that time sparked his early interest in cars, consumerism and industry.  

These fascinations manifested in what is today Scott’s most famous work, Trans-Am Apocalypse, a black, modified Pontiac Trans-Am that has text scratched into its surface from the Bible's Book of Revelations. Three iterations of this 3,300-pound work were made beginning in 1988. The two surviving versions are preserved in collections at the National Gallery of Canada and the Art Gallery of Ontario.  
Scott joined OCAD U, then called Ontario College of Art (OCA) in the early 1970s as a student. This was a notoriously transformative time for the institution, when then President Roy Ascott led the University with a very alternative approach to higher education.  

By the end of the decade, Scott was the curator of Gallery 76, a university-affiliated exhibition space located in the present-day Above Ground art supplies store on McCaul St.  

As a professor in the Faculty of Art, Scott primarily taught in the Drawing and Painting program. Early in his tenure he also led courses in pop culture and conceptual art in the Experimental Arts and Photo/Electric Arts departments.  

His challenging yet highly desirable artworks were the subject of a major touring survey exhibition in 2014 called Fearful Symmetry: The Art of John Scott. The show, which captured 40 years of Scott’s art practice, began in the United States at the Grinnell College Museum of Art and eventually travelled to the Art Gallery of Hamilton in 2016.  
The third version of Trans-Am Apocalypse (1998–2000) was painstakingly restored for the retrospective exhibition by the Art Gallery of Ontario’s Conservator of Contemporary Art Sherry Phillips, who described the artwork as legendary. 
As a supporter of OCAD University, over the years, Scott generously donated his work to OCAD University fundraisers that went towards various scholarships and programs for students. 

“John will be greatly missed by many, many people. He touched the lives of countless students and inspired generations of artists. My sincere condolences to his family and friends," Jones continues. 

“Many loved John Scott. He will always be with us through the vitality, vision and love he gave out,” White states. 

A memorial page has been created on the Drawing & Painting DRPT Community Hub website, where friends and colleagues are invited to share memories, tributes and thoughts about Scott. 

Photo Source: 

National Gallery of Canada 
Nicholas Metivier Gallery 
Now Magazine 
OCAD University  
The Art Gallery of Ontario 
The Globe and Mail 
The Toronto Star 

News Summary
The passionate professor left his mark on OCAD U as well as the Canadian art world.
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A black and white portrait of John Scott as a young person with long, wavy brown hair sitting beside a black dog with a brick wall behind.
Made to Love

Bidding is now open for your chance to own affordable original artwork by OCAD U Drawing & Painting faculty, students and alumni! Bidding starts at $100 for each artwork.

This year’s event, Made to Love: Our Love Language (running to March 6, 2021) offers an air of mystery by withholding the artist’s name until you receive the artwork.

Proceeds from the online, student-run, fundraising art auction will support the production of the Graduation Artwork Catalogue.

Here’s your chance to find an artwork that you love and try to guess who is behind it. And if you’re not yet acquainted with the wonderful work produced by OCAD U community members, what a great opportunity to discover a variety of established and emerging artists.

Every piece in our auction measures between 5.5” x 5.5” and 10” x 13”, making these works of art compact and ideal for delivery by mail.

News Summary
Bidding is now open for your chance to own affordable original artwork by OCAD U Drawing & Painting faculty, students and alumni! Bidding starts at $100 for each artwork. This year’s event, Made to Love: Our Love Language (running to March 6, 2021) cultivates an air of mystery by withholding the artist’s name until you receive the artwork. Proceeds from the online, student-run, fundraising art auction will support the production of the Graduation Artwork Catalogue.
Rice Queen Butterfly
"Rice Queen on Queerious Butterflies," Artists Performance, Paper Costume, Animation of Butterflies, crafted from Images of Queer Bodies and the Butterfly templates Indigenous to the Philippines. Shown in Toronto, Texas, also  at the Paradise Now Collective Performance, curated by Rae Johnson and performed with Catharine McTavish at the Art Gallery of Ontario, between 2012-2020.

Despite COVID-19, meaningful learning is alive and well at OCAD University, including in the new remote learning edition of Pixel Pusher.

A third-year course that’s part of the four-year Drawing and Painting undergraduate program, Pixel Pusher explores the effect of digital practices and tools on contemporary art.

For the spring instalment, instructor and program associate chair Julius Manapul has restructured the six-week course into a dynamic online seminar and home studio format so that his 34 students, who are now learning from home and from different parts of the world, can fully participate and have a valuable educational experience.

“We may lack the sense of immediacy that comes with having everyone in same space, but we are using different and creative ways to learn and communicate, and it’s exciting,” Manapul says.

To start, Manapul has made the course largely asynchronous: each week, he adds video demonstrations, readings and resource links to the course’s section on the Canvas online learning platform, and students review them at their own pace within the space of that week.

Through a discussion board in Canvas, students can share their insights on the readings, updates on their progress, and input on other students’ work. Manapul has also incorporated opportunities for live discussions about the course content by holding twice-weekly office hours. Held on Tuesdays from 8:30 a.m. to 10:30 a.m. and on Thursdays from 8 p.m. to 10 p.m.—to accommodate students from different time zones—on Microsoft Teams, these are optional drop-in sessions, and Manapul has been pleased with the uptake.

“For accessibility, we have made participation non-mandatory, but a lot of students are taking part,” he says. “Students in this generation are very tech savvy, and are comfortable sharing their views with each other online.”

The two assignments in this course usually involve making art in class, but Manapul has landed on some innovative ways to rework them so they can be completed at home. One involves creating works of art using the vegetables students have in their fridge, or the clothes in their closet. Students share their completed projects in the discussion board, where they are critiqued by Manapul.

“The studio has become their home, laptop, phones and apps,” he says. “We need to be creative with how we execute images through what we have at home.”

Three weeks into the course, Manapul believes he has landed on a remote-learning formula that is stimulating and engaging. “I think the learning space I’ve created promotes expressing and exchanging visual ideas, and everyone feels heard and connected, and can learn from each other.”

Julius Manapul
"FaceTime" Indigenous Filipino Face Tattoo on Mozart.
Decolonizing Antiquities Study Series, Recent Studies for 2020.
Kissing utopia
"Kissing Utopia Good-Bye," Animation, from Gay Porn Digital Collage, Disney, and Self Portrait of Artist. Shown in Berlin, Texas, and Toronto, between 2012-2019.


News Summary
Despite COVID-19, meaningful learning is alive and well at OCAD University, including in the new remote learning edition of Pixel Pusher.

A third-year course that’s part of the four-year Drawing and Painting undergraduate program, Pixel Pusher explores the effect of digital practices and tools on contemporary art. For the spring instalment, instructor and program associate chair Julius Manapul has restructured the six-week course into a dynamic online seminar and home studio format so that his 34 students, who are now learning from home and from different parts of the world, can fully participate and have a valuable educational experience.
Sophia Kyungwon Kim, The Screen Age
Sophia Kyungwon Kim, The Screen Age, oil on canvas, 4 "x 36." “Intensive social isolation has made this street empty but full of colourful screens, just like our solitary life in a great city,” Kim says. “As the scene [at Yonge-Dundas Square] seems to imply our life in 2020, I painted it in a traditional way, like a contemporary history painting.”

It’s going to take more than a pandemic to stop OCAD U’s community of artists, staff members and alumni.

One week after the university shut its doors in mid-March, several students in the Drawing and Painting undergraduate program began publicly sharing their responses to the coronavirus pandemic by posting expressive artwork on Instagram.

Figurative and abstracted drawings, paintings and textile work meditate on isolation, new routines, empty streets, sanitation culture and our hyper-technological new reality, and the feelings they elicit: fear, sadness and uncertainty, but also a sense of opportunity. Here’s a collection of some of these works of art, along with their descriptions.

Mel’s making masks

Soon after the pandemic hit, when a protective mask shortage seemed imminent, Mel Racho decided to join the growing ranks of citizen mask-makers. A senior web developer at OCAD U, Racho followed a simple pattern released by a hospital in Indiana, and advice from Quilt Addicts Anonymous, to turn his surplus bedsheets into masks. So far, he’s made and distributed 20 masks to family members and friends.

“People still need to leave their houses to get supplies and take walks, so I thought this was one small way I could contribute,” says Racho.

Seeds of unity

At a time when there’s less certainty about access to food, it’s heartening to know that a local seed library has opened its virtual doors.

OCAD U staff member Claire Carabott had a sizeable collection of seeds of various vegetable and herb seeds, more than she could use herself. Concerned about food security, she posted her inventory on her neighbourhood’s “Buy Nothing” Facebook group, offering to give away seeds through contactless porch pickup. So far, about 40 people have taken her up on her offer.

“My hope it that people can supplement their own groceries and also share with their neighbours and friends,” Carabott says. “This would of course reduce food insecurity, but also strengthen community bonds at a time when we need it more than ever.”

Being the change

Who is the person I most desire to be during this period?

Alondra Ruiz Hernandez wondered about that as the pandemic unfolded, and about the suffering it’s creating for marginalized people. A recent graduate of OCAD U’s Painting and Drawing undergraduate program, Ruiz Hernandez discovered Community Food Center Canada’s new COVID-19 fund to provide emergency relief to vulnerable citizens. She decided to support the fund by donating her remaining salary from her job as an OCAD U photographer.

“One thing this virus has shown us is how interconnected we are,” she says, “and with that in mind, how essential it is we support each other in the ways we can.”


It’s going to take more than a pandemic to stop OCAD U’s community of artists, staff members and alumni.

October 28th to November 5th 


Introduction Speech and Celebration  (Wine & Finger Foods)


Closing Speech and Artists in Conversation (Wine & Cheese)

As one of the official Creative Partners of the Toronto Biennial of Art (TBA 2019), OCAD University will launch the exhibition Unknowable Unknowing in the Great Hall from October 28th to November 5th.  

This unique the exhibition will showcase a juried selection of Drawing & Painting, and Printmaking students who have responded to the curatorial statement of the Toronto Biennial of Art. 

Participating students attended a curatorial workshop with members of the public programming team from the Toronto Biennial of Art. They are also involved in experiential learning through critiques, planning, promotion and installation of the exhibition. 

Students will also, organize and facilitate a talkback discussion in response to their exhibition on the evening of November 5th 6:30 to 8:30. 

About the Toronto Biennial of Art

Launching September 21, 2019, the Toronto Biennial of Art is a new international contemporary visual arts event as culturally connected and diverse as the city itself. For 72 days, Toronto and surrounding areas will be transformed by free exhibitions, talks, and performances that reflect our local context while engaging with the most pressing issues of our time.

Curatorial Vision: How Are We In Relation?  

“Curated by Candice Hopkins and Tairone Bastien, the 2019 Toronto Biennial of Art takes up the question “What does it mean to be in relation?” While the latter invites us to contemplate different kinds of “relations” and how they forge communion and ecosystems, it also provokes us to consider the ways in which we are out of relation—out of synch, disconnected, alienated. Grounded in the Indigenous, immigrant, and settler histories that have shaped what we now call Toronto, the inaugural Biennial asks us to reexamine the past to project alternative futures that expand our ways of knowing and becoming.”   


Venue & Address
Great Hall Exhibition Space 
OCAD U, 100 McCaul 
Toronto, ON
poster for exhibition with text in pink and blue bars

OCAD University graduate Yechel Gagnon was recognized at the end of March as Creator of the Year in Montérégie, QC, a $5000 prize given by the Conseil des arts et des lettres du Québec (CALQ). The 17th edition of the award gathered more than 80 people from the Monteregian artistic community, along with partners and friends of the culture.

CALQ awards the prize to those whose achievements are distinguished by their quality and outreach. Members of the jury highlighted “the high quality of Yechel Gagnon's work and, more particularly, her fascinating work on texture and materials. This amazing artist, with a rich and original practice, enjoys an important influence, locally and abroad.” 

The artist also recently installed a large-scale public art piece at the Sorel-Tracy waterport, in Quebec, and was very honoured with the prize. 

Born in Longueuil, Quebec, she holds an AOCAD with Honours in Drawing and Painting.

Click here to learn more about Yechel Gagnon and her work.




Alumni Faculty of Art
ocadu default

What’s Happening? 

Creative City Campus Renovations: Ada Slaight Drawing & Painting Studios

Temporary Closure and Renovations to the Ada Slaight Drawing & Painting Studios

  • Over the Summer of 2019, the Drawing & Painting Studios located on Level 4 south of 100 McCaul St. will be closed for renovations. 
  • Renovations will begin in May, following the Graduate Exhibition, and will be completed by August 31, 2019. 


  • ​Improve OCAD U’s studio-based learning environments by expanding some studios and improving infrastructure within existing spaces​
  • Provide new equipment and technology​
  • Improve circulation, storage, work flow and transparency
  • Provide more opportunities for flexible student work space and social gathering​
  • Improve energy efficiency of building systems (heating, air conditioning and ventilation; lighting, controls, network, etc.)

Where is this happening?

  • Level 4 Drawing & Painting Studios and hallways, 100 McCaul St. (see diagram)

How will the studios change? 

  • Significantly improved lighting and studio infrastructure (see concept sketches)
  • Improved pin-up and display surfaces​
  • Reorganized layout that creates new, flexible student working and gathering spaces
  • Reorganized layout that adds additional spaces for critique and faculty meetings
  • Improved energy efficiency of building systems (heating, air conditioning and ventilation; lighting, controls, network, etc.)

Impacts of the Summer 2019 Renovations

  • The south wing of the Drawing & Painting studios on Level 4, known as the Ada Slaight Studios, and their adjacent washrooms, offices and storage areas will be completely closed throughout the renovations period.
  • During this period, the Drawing & Painting resource office will operate in MCA 440, and the build shop functions of MCA 475 will run in MCA 430.

Upgrades to Heating, Ventilation and Air Conditioning Systems (HVAC) 

  • Some areas on the north side of the main building at 100 McCaul St. will be impacted while the heating, air conditioning and ventilation (HVAC) end-of-life units are offline and upgraded during the summer. Temporary measures will be implemented to maintain environmental comforts in the building.

Questions? Contact Us! We’re here to collaborate with you as we work through the challenges and opportunities in this project! Don’t hesitate to get in touch with the team about any question!​ Reach us at​.

Andrea Hunniford, Lead, Campus Planning and Projects​ Joanne Frisch, Director, Campus Planning and Projects​ Nick Hooper, Director, Facilities and Studios​ Sarah Mulholland, Manager, Student Communications and Campus Community

Floor plate image describing area of work in Level 4 south, 100 McCaul


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