The Valley (Fall 2021 Issue)

Masthead
The Director
Programming Coordinator
Communications Coordinator
Exhibitions Coordinator
Public Engagement Coordinator
Polen Light
Alex Au
Joanna de Villa
Arthur Dennyson
Laira Macapagal
Magazine Design
Cover Art
Writer
Writer
Writer
Vy Le
Tasnim Anzar
Lauren Tremblay
Tara Hejazi
Roland
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TABLE OF CONTENTS
Introduction 3
My Pandemic Story:
Opportunities for Therapeutic
Connections
by Lauren Tremblay
The Narrative of Landscape
Review by Tara Hejazi
5
8
Suki Wong - Density
Intersections
Review by Joanna de Silva
Dream in Colour
by Roland
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19
Feliciana de Sousa Chang - A City Full of
Memories
Co-Existence and Dystopia -
Artworks of Shuvinai Ashoona
by Tara Hejazi
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Millan Singh Khurana - Harvest Moon
Special Thanks
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I N T R O
D U C T I O N
Dear Reader,
It is a funny feeling to welcome you to the first
issue of The Valley, our first—and definitely (more
like hopefully) not—the last issue of semesterly art
magazine. If you think it is exciting and weird
reading an arts magazine from G1265, trust me
when I say I am genuinely more surprised that
you’re reading my words—even though this was in
the making for months.
When I took on the position of the Director at
G1265, I had many wild ideas to execute, loosely
tied to each other with an even grander ideal.
Looking back, I could swear at the moment that
most of the staff were done with the semester
when I pitched publishing a whole semesterly art
magazine.
We were a student-run art gallery, starting late,
and with no discussion underway on how our
programming would even look like; and “this kid
that I vaguely remember from my first year class
is telling us how we should do a magazine when
we barely discussed upcoming exhibitions”. They
were baffled and confused, just as I was uncertain
how far the idea would go.
I still do not understand whether the idea of a
magazine seemed more reasonable between
other pitches, or if the staff were simply too
exhausted to object. Regardless, I am thankful
to my team for believing in and undertaking
the project, whatever the reason may be. And
more thankful that they have all taken a huge
endeavor to do their best all throughout the
semester.
But it wasn’t only the G1265 staff that took
on the endeavor. Our artists and volunteers
have all surprised us with their enthusiasm to
create something. Many of our artists never
exhibited their works before, let alone
exhibiting in a virtual setting. Many of our
writers never wrote an article of such nature,
or designed a magazine for that matter. But
their enthusiasm and commitment to learn,
develop, and create was the fuel that kept the
cogs turning. Without these individuals we
would not have the magazine, nor the content
that brightens the magazine.
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I also have to add, to my great delight
and surprise —despite all the physical
barriers the world has brought us— the
staff, the volunteers, and the artists felt
the most in unison in my past three years
at UTSC. Whether it was because of our
collective suffering or seeing small teases
of things to come, time will tell —but my
bet is on both. And I can only hope that
our community grows.
And you the reader, while it is
unfortunate that you probably do not
have a gallery director to share your
endeavors with the world (or a small
university community for that matter), I
hope they were just as rewarding as ours,
and you will share our happiness and
excitement as you read the following
pages.
We are beyond excited to present our
achievements, and can’t wait to talk about
the things to come next semester. And
they may or may not include public
artwork installation, and a fancy gala to
finally wear that dress you bought during
the pandemic.
May you enjoy the magazine, be proud
of what we created, and become a part of
our community.
-Polen
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MY PANDEMIC STORY: OPPORTUNITIES
FOR THERAPEUTIC CONNECTIONS
L O C A L Y O U T H S H A R E T H E I R P A N D E M I C F E A R S , H O P E S ,
A N D E X P E R I E N C E S T H R O U G H A R T W O R K I N A N I M M E R S I V E
C O L L A B O R A T I O N W I T H T H E R O Y A L O N T A R I O M U S E U M .
by Lauren Tremblay
Since the emergence of the Covid-19 pandemic, many facets of our lives
and the normalcies of society have shifted drastically. With increased global
tragedy, conflict, and personal isolation, many people have been experiencing
mental and physical effects, whether significant or minor. The quick pace in
which the world as we know it has changed has been alarming, and overcoming
the challenges and changes that have arisen is daunting. These feelings of
isolation, fear, and frustration are especially seen in our youth. In these stages
of childhood and young adulthood, socializing and making meaningful
connections are crucial to developing solid foundations and good mental
health.
Upon entering through the main doors at the Michael Lee-Chin Bloor
Street entrance, My Pandemic Story, Royal Ontario Museum’s first ever
crowdsourced exhibition, is the first thing visitors see as they turn to their left,
ahead of the front desks and ticket check area. Successfully launched on
October 23rd, this white-walled maze-like room draws viewers in with its
colourful array of artworks centered around main themes. The central themes
of struggle, (dis)connections, pandemic life, perseverance, awareness & action,
and positivity are plastered on the walls, and are present in the pandemic
experiences of every age group, worldwide. Artworks are arranged in their
connection to the themes, and interactive aspects of audio and video recordings
appear throughout, featuring artists discussing their pandemic challenges, and
how art has taken a new purpose in their lives as a form of therapy.
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For the past year, amidst the pandemic, Toronto's Royal Ontario Museum
has been reaching out to local youth to develop this project. The museum
called for submissions of artworks from local youth ages 4-18, acceptable in
various mediums, like video animation, drawing, photography, painting, and
sculpture. After launching in the Spring of 2021, the project received and
reviewed over 2,300 submissions, from which just over 60 were selected.
Rather than dismissing the artworks that were not selected for exhibition, the
ROM has decided to document and upload all submissions on the exhibition’s
online webpage, giving these artists a platform to tell their stories and creating
an online space for connection and exploration outside of the museum walls.
The exhibition creates an safe space to discuss mental health and the effects of
the pandemic with an inviting environment that encourages visitors to reflect
on their feelings and experiences along with the artists, including interactive
sticky-note areas that ask visitors to reply to prompts like, “when things get
better, I will..”. Visitors can reflect on what brings light into these artists' lives
and what thoughts push them to move forward through the daunting
experience of growing up during such a societal shift.
Katarine, Hate is a Virus, 2021, textile embroidery. Image Courtesy:
The Royal Ontario Museum
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The discussion on art and engagement with art centres as therapy is nothing
new. For decades, it has been observed that those with mental health difficulties
can experience emotional release, empowerment, and a greater sense of
connection to themselves and others through viewing or practicing art. It has
been discussed that non-medical interventions such as creating art or visiting
museums foster empowering social relationships that help to alleviate the
stigma and effects of mental health struggles. The ROM’s engagement towards
youth and the topic of 3
art as storytelling and therapy is a milestone in the museum world, as it
normalizes the subject of art as therapy and a form of communication. This is
likely why the museum has decided to keep this exhibition open, not requiring
the purchase of an admission ticket. The thousands of youth involved have not
only been encouraged to create and tell their own stories, but the project has
been designed so that their stories can be experienced by all, without borders.
A look at the immersive
display of My Pandemic
Story.
Image courtesy of Lauren
Tremblay.
Overall, The Royal Ontario Museum's connections with youth to discuss
their feelings on the pandemic is a breakthrough in the museum world.
Collaborating with such a large group of young artists and displaying their
stories on their large public platform serves as an inspiration for visitors of all
ages. This move to an interactive and honest crowd-sourced exhibit marks an
evolution in the functions of museums and art centers worldwide.
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THE NARRATIVE OF LANDSCAPE
Feliciana de Sousa Chang - A City Filled with
Memories
Tyler Kim - Urban Nature
Jessica Greenslade - Two Trees
Humaiyra Patel - Untitled
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The Narrative of Landscape
Review by Tara Hejazi
Gallery 1265’s The Narrative of Landscape features landscape photography
with special stories. The exhibition has the works of seven UTSC affiliated
artists who each showing a different perspective of land, whether that be in
nature, the city, or a railway station.
Stories behind the works range from coming-of-age stories, historical, to
simple appreciation, but what they have in common is the theme of the world
changing. Being that the world has gone through a pandemic, change was
inevitable, but also change is inevitable in life in general. Almost all of the
photographers have a series of photos, some which tell a story, and some that
just appreciate landscape, but they all challenge the viewer to derive their own
story.
Among the exhibited works, Victoria (Haseung) Jung’s, “From Above” is worth
highlighting. The picture is really simple, just a bird-eye view picture of the
land and clouds taken from an airplane. What makes this piece so memorable
is the story behind it. As previously said, the world is currently going through a
pandemic so that means a lot of change has happened, but one of the most
prominent changes is having to be isolated in your house for a good few
months. Jung portrays her appreciation of being able to explore the Earth and
how beautiful it is. Being in quarantine, a lot of people can relate to the piece
because of how they started to appreciate the freedom of being able to explore.
Even though this is one photograph and not a series of photos, it really is worth
a thousand words.
Another piece worth mentioning is Millan Singh Khurana’s, “Harvest Moon”.
Khurana compiled a series of photographs of his childhood home, Harvest
Moon. What was really unique about his series is that he adds almost before
and after shots to emphasize nostalgia and him reminiscing his memories. I
also believe This series also evokes a feeling of comfort that many viewers can
relate to and even feel that same comfort. Being that Gallery 1265’s audience is
mostly students, it seems as if a lot of students feel as if they might be growing
up too fast. This can give comfort to the viewers by showing that change is ok
and that starting to go on your own journey is ok.
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The only shortcoming of the exhibition is that it is online. In a sense, having
the exhibition online is great because it is very accessible and that it is also
free. The problem with it being online is that viewing the exhibition is prone
to technical errors. This can affect the viewer’s experience. Another factor
that could improve is the layout of the exhibition. It was confusing getting
around as there weren't any clear pathways to go to the second room. Also,
the platform in the middle of the main room seemed unnecessary, because
the main room seemed cluttered and it made it difficult to move around.
Overall, The Narrative Landscape does a wonderful job at showing how not
only the world has changed, but how people also change. Through
storytelling, the photographs emphasize that change is bound to happen, but
that is ok. Even though the site for the exhibition can be glitchy, the
exhibition is definitely worth seeing, especially if you want to support your
fellow peers.
The Narrative of Landscape exhibition ran through November 2021 in Gallery1265's
virtual exhibition space. To see all works exhibited please contact Gallery 1265 team
for archives viewing. All images courtesy of Gallery 1265 and the artists.
Millan Singh Khurana - Harvest Moon
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Myuri Srikugan - Into the Woods
Yuanyuan Li - Mutualism
Jiaoe (Zaneta) Zou - On The Way
Victoria (Haseung) Jung - From Above
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CO-EXISTENCE AND DYSTOPIA -
ARTWORKS OF SHUVINAI ASHOONA
H O W A N A R T I S T B E A U T F I L Y M A S K S D Y S T O P I A
W I T H C O L O U R F U L C R A Y O N S
By Tara Hejazi
Shuvinai Ashoona, Compositions (Titanic Plus Nascopie &
Noah's Ark), 2008. Courtesy of Dorset Fine Arts
Usually when I go into a gallery, I expect to see paintings, sculptures,
installations, and the occasional sketches. What I don’t expect to see is
drawings done by pencil crayon. Whenever you think of pencil crayon, you
probably think of elementary school or just being a kid. In a sense, having
drawings done by pencil crayon can seem immature and/or unprofessional
to have in an art gallery. This is not the case with artist, Shuvinai Ashoona.
Ashoona is a graphic artist based in Kinngait, Nunavut. Being based in
Kinngait, Ashoona is part of Canada’s Inuit culture. Ashoona aims to
continue an artistic tradition that was started by her grandmother and
cousin. She is known for her imaginative iconography that can be seen in
the scenes that she creates which can include both nature and wondrous
visions.
Shuvinai Ashoona's Beyond the Visible collection features twenty-five
drawings done by Ashoona over the past two years of her career. Each
drawing features two main materials, ink and pencil crayons. Her drawings
include extraordinary creatures and landscapes that represent a
combination of the past and the present. These scenes are, of course,
inspired by her community and home.
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What is so fascinating about her works is how it almost disguises a dystopian
setting. The coloured pencils add a softness to the drawings, making it less
daunting. Rather than the scenes portraying distress, especially among the
characters, it seems as if everything and everyone are co-existing. In a way, the
drawings seem to give a feeling of hope and comfort. When we usually think of
the future, we usually think that the world is going to shut down and that
everyone will go against each other (thank you, media). Ashoona shows a
kinder version of the future, a future in which society does not have to be
worried, because of everyone co-existing. Ashoon using pencil crayons as one
of her main materials is unique. As mentioned previously, it is unusual to see
pencil crayons as one of the main materials for a piece, so to see it actually feels
refreshing to the eyes and it makes the viewer more aware of the drawings,
because they aren’t desensitized to the materials.
Shuvinai Ashoona, Composition (Attack of the Tentacle Monsters), 2015.
Courtesy of Dorset Fine Arts.
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One of my favourite pieces of the exhibition is the drawing that features
people, monsters, and even Earth itself all holding hands around dead animals.
This is my favourite piece because it really emphasizes one of the themes of
co-existing. This can be interpreted by how everyone and everything
appreciates the animals in the middle through holding hands, as well as that no
one and nothing are going against each other, rather, they are trying to become
one.
Overall, Shuvinai Ashoona's Beyond the Visible collection is a unique experience,
not because the exhibition is extravagant, but because of what Ashoona uses to
create her scenes. Through a family artistic tradition, she challenges viewers to
look at the future in a new perspective, a tender future where creatures,
humans, and nature come together.
Shuvinai Ashoona, Composition (People, Animals, and the World Holding
Hands). Courtesy Dorset Fine Arts.
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I N
T E R
Arda Erturk - Nazar
Zi Yan (Gabriella) Bai - Survival
S E C
T I O N S
Pearl Sequeira - Unearthing Self-
Worth
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Intersections
Review by Joanna de Silva
Gallery 1265’s Intersections features a variety of
works from photography, to painting, to
sculptures in order to bridge culture and
heritage. This exhibition features the works of
eight student artists who offer a look into life in
their lives.
While some works feature a gorgeous clash of
colours and meld of disciplines, they all intersect
at the heart of their culture. For each person,
heritage means something different.
Caitlin Arizala - Reclaiming My Filipina Identity
Through The Arts
The culture we inherit means something else to
each person. For some, they lead to fond
memories , and for some, they don’t. This
exhibition tells both the beautiful, and bitter
history that is intertwined with our heritage.
Sha - Taga Ilog / Of The Water
Kim Ngan Phung’s piece, Timeless, was a
breathtaking display of photography. A closer
look at this photo in the Mausoleum of Emperor
Khai Dinh shows the incredible detail that was
put into this heritage site. The mixture of
French and Vietnamese architecture tells a slow
history of Vietnam’s history with colonization
through a soft pink touch. The gorgeous blend
of colour and detail within the ceiling of the
tomb offers a visually breathtaking scene that
hides the history of one of Vietnam’s rulers.
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Gabrielle Bai’s short series
centring around her culture tells a
story about her history within
China and acts as a commentary
on it. All three of her pieces are
standouts, but her sculptural
installation, Industrial Fantasy,
highlights a heavy relationship
between her identity as a woman,
but specifically in China’s society.
The crimson of the coke bottle
unites the product with the
woman -- identifying them as
one in the same.
Maria Haque - Day Light
It is a raw commentary into her relationship with her country and the objectification
of women within it.
Perhaps I’m biased but the only thing this exhibition is missing is more. There are so
many cultures and stories that we haven’t seen yet and I hope that one day they are
able to tell their stories. As the second featured exhibition by Gallery 1265 that centres
around culture, I imagine that one day, their time will come.
Intersections was a much
anticipated follow-up to
the SELF exhibition from
the past summer and I am
so happy to see it come to
life. It was an interesting
melange of colour stories
and mediums that came
together in a beautiful way.
I look forward to the
continued momentum of
this exhibition series and
can’t wait to attend future
iterations of the event.
Kim Ngan Phung - Timeless
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Evelyn Benoit - Tea Travels
Intersections exhibition is on view through December 2021 in Gallery1265's virtual
exhibition space. To see all works exhibited after exhibition please contact Gallery 1265
team for archives viewing. All images courtesy of Gallery 1265 and the artists.
Suki Wong - Density
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DREAM IN
COLOUR
Learning to look from a different perspective: how to discover
my dream job through an arts-based career-exploration program.
By Roland
When I was a child, I wanted to
become a pilot. When I was in
elementary school, I wanted to
become a teacher. As I grew older, I
continued to change my mind about
what I wanted to be. Even now, I still
don't know what my dream job
would be.
I recently began to take part in
Dream Job Academy, a program
designed to help students explore
career options. The name really
stood out to me because I wanted to
find exactly that: my dream job. I
had hope that by participating, I
could discover my true calling.
Rather than answering questions
and receiving results based on a
calculated score, this program
introduced a different approach that
I had never tried before. What’s
particular about Dream Job
Academy is that their activities are
all arts, narrative, and play-based.
By incorporating art into their
activities, participants are allowed to
express themselves more freely
through their own creativity. Despite
being arts-based, all levels of artistic
experience are welcomed. Each
session would center around a
theme. For example, the theme
could be ‘Looking Forward’: the idea
is to envision our ideal career – or it
could be aspects that define it – into
a digital collage. A picture is worth a
thousand words, and I personally
found that it was much easier to
express myself through such activity
than if I were to express in words
what I envisioned for my ideal
career.
It is a good way to engage since it’s
fun, and the activities help us grasp a
better understanding of ourselves
through our own creations. The
activities are delegated along with
reflection questions that prompt
reflection upon personal experience
and career goals.
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In envisioning the ideal career, what
are the characteristics of work?
What does it look like? Sound like?
Feel like? The goal is to express
ourselves and our responses to
those questions through an art
piece. Although I don’t know what
my ideal career is, I could still
envision myself, living with a good
work-life balance. At the end of the
session, participants may share, if
they are comfortable, what they
have created with one another.
Seeing others' creations and
listening to their explanations
creates a sense of community. Each
person’s creation is unique to
themselves: it tells their own
personal story, and it represents
their own ideas for their dream job.
Additionally, the act of presenting
our own creations and sharing it
with others also benefits the
presenter. They would have to first
understand themselves and what
they've created in order to able to
begin explaining it to others.
Overall, I find that the program is
very conductive towards selfdiscovery,
especially in careerrelated
fields. Though I wasn’t able
to find my dream job, but I was able
to broaden my horizons. Art has
provided me a new and unique
approach to search for my dream
job.
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SPECIAL THANKS TO
Our faculty supervisors, Sanaz
Mazinani and Arnold Koroshegyi,
for fighting for us tooth and nail and
their unending support;
Sydney Cabioc, Manaal Hussain, and
the greater ACM staff who has been
very patient with us as we navigated
our new positions and UTSC
bureaucracy;
and to all readers who has decided to
became a part of our community.
We love that you're with us!
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