Welcome to the Lobby Gallery

Our lobby gallery features artworks from emerging and established artists from Toronto and beyond.

Benevolence

The Art of Eternal Blue | A Legacy from Dali, Yunnan - Hong He

I am Hong He, from the enchanting land of Dali, Yunnan—a place celebrated for its “wind, flowers, snow, and moon.” Here, ancient handicrafts have thrived for nearly a thousand years: the rhythmic clatter of handlooms, intricate tie-dye patterns, vibrant botanical dyes, and elaborate embroideries. These traditions are not merely skills but a timeless way of life.

In 2000, I fell in love with the art of tie-dye (扎染, Zaran) and began collecting rare, handcrafted masterpieces. Each piece in my collection is one-of-a-kind, carrying the soul of its maker and the whispers of history. If you, too, are captivated by this art, I invite you to explore them with me.

🌿 Find Us

– Instagram: @Hong_Tiedye_Workshop

RED (Xiaohongshu): “Hong Jie’s Tie-Dye in Toronto”(Discover the beauty of Zaran and slow living)

📍 Studio Address

505 Hwy 7, Markham, ON L3T 7V6

Unit #288, Building A (Second Floor)

🌸 Experiences & Appreciation**

– Tie-Dye Workshops: Regular hands-on sessions to immerse in the poetic dance of indigo and white.

– Private Viewings: By appointment, wander through a curated selection of textile art that mirrors landscapes and legends.

(Walk-ins welcome, but advance inquiry is advised.)

— “Where hands speak, and cloth carries the Dao.”

Winter blue dyed door curtain

90 cm x 150 cm

$180 (SOLD)

The cloth is woven by hand and the traditional dyeing technique is used. It is repeatedly soaked in a vat for more than 24 times to obtain such a deep blue color. The product is made around 2000 and is produced in Dali, Yunnan, China.

Color-dyeing wall hanging

44 cm × 150 cm

$98 (SOLD)

Using pure cotton fine cloth, using traditional color-dyeing technique, the pattern is rich, delicate and clear, and then repeatedly soaked in the vat for dyeing to obtain a complete tie-dye work. It is a unique product. The product is made around 2000, produced in Dali, Yunnan, China.

Yellow plant-dyed butterfly square scarf

60cm x 60 cm

$70

Butterflies and plum blossoms are very popular patterns among Yunnan flower makers. The manual earing process is time-consuming, and the plant dyeing reveals the beauty and fragrance of the plant color system. The product was produced around 2000 and is produced in Dali, Yunnan, China.

Hand-woven coarse linen over-dyed wall tapestry

$60 (SOLD)

This one uses plywood over-dying, neat geometric patterns, and uses plant blue dyeing to show a relatively rough texture, which is very powerful. It is dyed on thick linen fabric and is very clear. It is a rare work of art.

Spring Flower Hand-woven Linen Colorful Wall Hanging

$80

With the breath of spring, various small trees bloom quietly. Using the techniques of segment dyeing and multi-layer over-dyeing, flowers of various colors bloom on the wall hanging. The product is made around 2000 and is produced in Dali, Yunnan, China. It is a unique product.

Feast

Feast for the Eyes - Stephanie Avery

Stephanie’s art practice centers around reimagining everyday objects, infusing them with levity and thoughtfulness to reshape their familiar narratives. Through vibrant transformations, she invites viewers to explore our collective relationship with consumer culture. Her use of humor and absurdity serves as a gateway to deeper reflection, making complex themes more accessible and leaving audiences feeling both engaged and empowered. By incorporating recognizable objects, she fosters a sense of shared experience, creating a platform for dialogue and fresh perspectives.

For Feast, Stephanie expanded on her existing plate series, which naturally aligned with the play’s themes of gluttony, excess, and sustainability. She completed the collection by modifying plates with water motifs, fully integrating the series with the play’s broader narrative.

stephanieavery.com ~ @stephvonawesome

Green Face Plate

2024

Aerosol and acrylic paint on plate

$150

Nature’s Garden

2025

Acrylic on decorative plate

$250

Purple Face Plate

2024

Aerosol and acrylic paint on plate

$200

Turquoise Face Plate

2024

Aerosol and acrylic paint on plate

$200 (SOLD)

Golden Moment

2025

Acrylic and gouache on decorative plate

$250

Yellow Face Plate

2024

Aerosol and acrylic paint on plate

$200 (SOLD)

Archibald Russell

2025

Acrylic on decorative plate

$250

Wings of Glory

2024

Acrylic and gouache on decorative plate

$250

Pink Face Plate

2024

Aerosol and acrylic paint on plate

$200

Caramilk Secret

Stephanie Avery

2021

Acrylic on salvaged bus shelter ad

$1800

The Wolf in the Voice

"Into the Folds" - paintings by M. Randi Helmers

Into the Folds

Paintings by M. Randi Helmers

For this exhibit I have chosen pieces from my studio that reflect my resonance with the stories and songs brilliantly performed by Neema Bickersteth, Jane Miller and Taurian Teelucksingh, in The Wolf in the Voice. This trio of performers and their company generously welcomed me into the rehearsal hall to witness them in process. I returned to my art studio exhilarated and excited to experience new perspectives on recent paintings. Throughout my 40 year acting career my studio art practice has remained a vibrant source of self-knowledge, creative discovery and play. My “visual voice” has been an essential emotional complement to my voice as an actor and a singer. Sharing in The Wolf in the Voice through my visual art has brought me deeper “into the folds” of my several artistic practices and appreciation of the miraculous “folds” of the human voice. With gratitude to Tarragon’s Heather Caplap, and Nightswimming’s Martin Julien, Brian Quirt, Sandy Plunkett, and the entire “Wolf“ company.

A note of thanks:

When I was a young art student at the Ontario College of Art, newly settled in Toronto in my garret flat on Walmer Road, Tarragon was a magnet to me. I’d returned to Canada in 1979, after five years of fine arts study in Scandinavia and Europe and was starved for English language theatre. Tarragon- my very own neighbourhood playhouse- satisfied the hunger. Through Tarragon’s steady diet of new Canadian plays, acting classes at the Maggie Bassett Studio and showcasing opportunities at the popular annual Spring Arts Fair, I added acting, singing and writing to my burgeoning identity as a multi-disciplinary artist. In the ensuing years Tarragon’s stages became my workplaces as I performed in the Extra Space (Nightwood’s The Danish Play), and the Mainspace (Theatre Voce’s The Awakening, and Tarragon’s Capture Me).

Thank you, Tarragon!

Mother Dream, June 2013 (And I’ll Sing Once More)

Acrylic on paper, with cold wax,

36x 50in

$2,300

This is a painting based on a desire to celebrate my mother’s 90th birthday with a bold, creative splash. Shortly after starting the piece, I had a dream I sensed was closely related to this “splash”, so I added images of my mythical dream creature -more like a manatee, than a wolf in my “dream” voice- swimming through tall, wavy grass onto the painting. The dream contained some specific references to the musical The Sound of Music– a formative LP as a child ( The original Broadway cast recording), hence the lyric “And I’ll sing once more” as part of the title. A year and a half later, mom now passed on, I collaborated on an interdisciplinary performance piece called The Path Home, staged on a large floor labyrinth. This painting was carried into the performance as a mystical presence of life force and continuance. Taking inspiration for my paintings from my dreams, “dreamwork” deepens my creative life.

If you are curious about your dreams and are seeking community in which to ponder them, I recommend Dreamwork Canada as a helpful resource.

Etude Op.2 No.1

Mixed media on birch panel

24x48in.

Inspired by the music of Alexander Scriabin

$1,200

This is one of two paintings commissioned in 2021 by Shafagh Havadi for VISUALEARS, “the creative component of her Master’s thesis at York University”… “The project aims to explore music perception and cognition, as well as the experience of mood immersion through the visualization of music, a sonic, gestural phenomenon, by contemporary visual artists, and a consequent immersive experience of simultaneous music-listening and art-watching by a global, virtual audience.”

Participating in Hadavi’s thesis research as a painter under the influence of two specific pieces of music revealed to me how closely my visual and sonic imaginations are entwined. This is akin to the connections I made between the musical landscape of The Wolf in the Voice and my paintings.

My Wolf (Mother Lode)

Acrylic on paper

36x48in

$2,700

Framed, with museum glass

randi.helmers@gmail.com

This painting flowed out of a process involving music, movement and vocalization*, making a direct path from physical/emotional impulse to the paint and paper. The turquoise called out for a swath of silver – a “mother lode”. The silver responded to “The Wolf in the Voice” invitation, becoming “My Wolf”.

*”Shake and Make” as it is called, is a process of continuously shaking every part of the body that can shake, for 45 minutes, to non-stop music. This simultaneously calms the nervous system and disrupts “stuck” energies. These energies will out, finding a relationship with the blank canvas, paper, page…voice. As taught to me by Mira Berlin and Savannah Lockie, Express Arts Therapists.

St. Lawrence Sentinel (Red)

Acrylic on wood panel

48x6in.

$500 or $900 for the diptych

Joy-Folds

(Sentinel series 2024)

Acrylic, gauze on canvas

36x6in.

$350

$1200 for the tryptic

St. Lawrence Sentinel (Blue)

Acrylic on wood panel

48x6in.

$500 or $900 for the diptych

These three pieces, all in my “Sentinel Series”, point to sentinels around us and within us. My mother, Joan, was born by the St. Lawrence river, in Montreal. She was an excellent swimmer and my sentinel when I got close to dangerous “deep waters” throughout my life. Sentinels (i.e.nodes) within us sound alarms as well. In the “wolf” sense, our vocal folds require us to be sentinels, paying attention to protect their vulnerability and support their joy.

Coming Through (2): Messenger

Acrylic on canvas

30x40in.

$1,200

This the second in a series of paintings in these dimensions, distinguished by a dominant hue. The first in the series is acrylic on paper, predominantly green and titled, Coming Through: Buoy

A New World

Digital print on canvas,

Acrylic, imitation gold leaf, cold wax

20x20in.

$180

The original is quite small- 6×6 inches, on a wood panel. The vision, however, is epic. A new world, please, with golden wings outspread to include all our relations in loving embrace. Believe.

Any Witch Way

Digital print on canvas

Acrylic, cold wax

16x22in.

$180

Available in digital print( various sizes, with or without acrylic enhancement), mounted on wood panel (various sizes) with or without enhancement, or greeting card.

A witchy, wild ride, in any direction the whim may take.

Nordic Labyrinth

Digital print on canvas

Acrylic

14x14in.

$120

The original of this print is on exhibit in Tarragon’s Lobby Gallery, and belongs to the artist’s personal collection. Commissions in various sizes, based on this labyrinth are possible.

Available also in digital print on canvas, photo print mounted on wood panel, or greeting card.

Nordic stone labyrinths are found throughout Scandinavia, their construction on the landscape dating back to medieval times and earlier. Being of Norwegian heritage, and drawn to meditation practices, they’re of particular interest to me

Nordic Labyrinth

(Gibsons stones)

Digital print on canvas

Acrylic

14x14in.

$120

Available only in the digital print on canvas, photo print mounted on wood panel, or greeting card.

The original of this labyrinth is comprised of small stones from Gibsons B.C. placed, unattached, on a labyrinth mono print on rice paper

Nordic Labyrinth

Paper, acrylic, stone on wood panel,

36x36in.

Artist’s collection

Commissions available

This labyrinth is based on the nordic stone pattern found throughout Scandinavia, dating back to medieval time and earlier. The stones I’ve attached to this one are from my extensive collection of stones found on beaches, nature walks, and given to me by friends.

When Martin Julien, co-writer of The Wolf in the Voice, and long time theatre colleague/friend, invited me to show my work during the run of the show, I asked which of my works he felt were related to the themes. “The stones, the labyrinth”, he said, “ inspire evocations of the larynx, the vocal folds, the vibrations of sound.” When I first heard the trio sing their a capella arrangement of Arvo Part’s Spiegel Im Spiegel, I understood why Martin said that. The trio walks us into their world of vocal wonder through a labyrinth of beautiful, uniquely shaped notes, guiding us to a place where our hearts can receive a gift: laughter, soul and love through song.

Trio (What Remains Series 2000)

Acrylic on paper, on canvas

36x18in.

$375

Working away in my art studio, sometimes things just “don’t work”. I may attempt to bring the parts that “don’t work” around. Or, I step away for a while and come back with fresh eyes and a different approach. With the “What Remains Series 2000”, the “not working” of a large painting on paper intersected with a life situation that had “failed”. I divided the whole piece into many small 6×6 inch parts. Then I located the area within the square that pleased me with its colours and shapes, sketched an outline around the area and “whited out” the rest of it with gesso. What remained was a collection of stone-like entities that reflected my troubling situation, giving it voice and, mysteriously, a sense of meaning through my art. “Trio” is a grouping from this collection of small “stones”.

Labyrinth (Chartres)

Acrylic on paper, monoprint

18x18in.

$385

“The…circle and labyrinth inspire evocations of the larynx, the vocal folds, the vibrations of sound.” This was the response my long-time acting colleague, friend, and the co-writer of The Wolf in the Voice gave when I asked him which of my paintings he felt would relate to the show.

This acrylic monoprint is a pressing from a finger- labyrinth I made in a meditation workshop. This classical version of the labyrinth is embedded in the stone floor of the narthex in the medieval cathedral of Chartres, France, inviting pilgrims to enter the sacred space through walking its curvy path to the centre.

Wolf-Folds

Acrylic on canvas

36x12in.

$300

“Wolf-Folds” is what remains of an “art rescue”. A strip of painted canvas adhered to a larger one had to be torn away and transplanted to another surface. What was left behind from the tear was so evocative that I gave it its own place on yet another canvas.

Arranged together in this exhibit, “Trio” and “Wolf-Folds” sing a duet about the raw place, the howling wolf cry that seeks communion and recognition of its place within the (vocal) folds.

Craze

Ben Dickey

Ben Dickey

Ben is a multi-disciplinary artist and writer living in Tkaronto (Toronto), Canada. His work seeks to understand the relationship between place and identity through explorations of the liminal, everyday, and abstract. Insofar, his art employs multiple mediums and approaches, while thematically exploring the role of narrative in constructing the physical and emotional spaces of our lives.

Grounded, in part through his experience of mental health and disability, Ben’s practice is defined by a need to express, direct, and come into dialogue with creative desire, emotional struggle, and perceptual exploration. Through his art he hopes to examine the notions of solitude and despair; alienation and temporality; mythology and the politics of the quotidian – ultimately providing a visual language that gives meaningful expression to the difficulties we face as human beings. His work has been featured in The British Journal of Photography, Der Greif, PH Museum, Youngspace Gallery, Gallery 44, Nowhere Magazine, and more.

The work I am showing is an attempt to create expressive abstractionism through the byproducts of our digital age. In this series I subvert algorithmic processes, “hacking” them through intentional misuse to create glitches and open seams that I layer intricately in Photoshop. Using macro photography of paintings I have made; cell phone imagery; fractured photogrammetry captures; 3D elements and creations; photographic light paintings; photocopy errors and textures I have collected; as well as individual brush strokes I have scanned and imported, I collage complexly layered compositions intended to reassert human agency through the instrumentalization of imperfection. They are then printed on photographic paper and canvas. Because they are composed of a multiplicity of images, their resolution is very high, allowing them to be reproduced at large scale. Together they form a line of inquiry on simulacra, subversion, and reclamation by operating in the spaces of collage, traditional painting, and digital processes simultaneously. They operate to fundamentally reassert human agency within the chaos and atomization of the processes shaping our virtual and physical realities.

Socials: @stink.guillotine

Cherry on Top

16” x 20” digital print, framed

$200 or $500 for the set

Digital Painting

16” x 20” digital print, framed

$200 or $500 for the set

Strained Heart

16” x 20” digital print, framed

$200 or $500 for the set

Ryan Kelln

Ryan Kelln

Ryan Kelln is a software artist based in Toronto, with over twenty years of experience spanning game and web development, interactive installations, and machine learning. A passionate advocate for open source and the Creative Commons, Kelln crafts art that celebrates themes of sharing, community, and creativity. His work is realized through ongoing projects that have evolved over a decade, as well as live performances with musicians and dancers. Kelln critically addresses technology while envisioning and advocating for inclusive, emancipatory systems. Beyond his artistic contributions, curation of generative art, and advocacy for art-making, his expertise in machine learning enables him to mentor emerging artists and educate the public through lectures and workshops. He recently completed the curation of the Entangled Dimensions group exhibition at the Illuminarium in Toronto and his ongoing project Experimance is being featured at the Factory Media Centre in Hamilton and the PARTICLE+WAVE exhibition at EMMEDIA Gallery in Calgary in 2025.

I am filled with hope, dread and guilt about the human experimentation on our world and the accelerating pace of technological change that is our childrens’ inheritance. This recklessness now extends to AI, as we rush toward machine intelligence, ushering in new species, tools, and ways of thinking. It reminds me of flying over a vast city—marvelling at what we have built while grappling with its bloody price: our past, present and future sacrifices. My work is about knowing and the awe and horror of that knowing.

Experimance 2

The following images are examples of the many variations of the work of generated high resolution “satellite” imagery that combine aspects of dense urban infrastructure with circuitry and other computer hardware motifs as well as other influences like mandalas. Final pieces would be 1-3 high quality prints on paper or metal.

Website: ryankelln.com

Experimance 2 – 01

20” x 20” digital print on metal

$350 or $900 for the set

Experimance 2 – 02

20” x 20” digital print on metal

$350 or $900 for the set

Experimance 2 – 03

20” x 20” digital print on metal

$350 or $900 for the set

Annette Courtemanche

Annette Courtemanche

Annette Courtemanche pursued academic studies at the University of Toronto which included art history courses before delving into Contemporary painting at the AGO with Michael Toke. She is a founding member of the Christie Pit Artists Group which promotes artistic engagement in this richly diverse Toronto neighbourhood. She is a contributor to the vibrant local art scene, and her pieces can be found in places ranging from local cafes to Canadian living-rooms, to a city dental practice for which she has just completed three commissioned works

Notable recent exhibits:

Emily Rose Cafe, Toronto, ON (2023)
AGO (Art Gallery of Ontario): “Portraits of Reliance” (June-August 2022)
Ideas Incorporated: Christie Pit Artist Group Show (2021)
Roaring Art Gallery, Virtual: “Hear Us Roar & Powerful Little Things” (2021-22)
Toronto Public Library: Bloor and Gladstone Branch (2019)

I am a Toronto-based artist, and my love of drawing and painting started at an early age. I was born on a tropical island and moved to Canada with my family in my teens. Many of my paintings reflect the connection to both places by using bold colours as well as rich shades of blue which ties and connects both places to water.

Painting takes me to remembered places and places not yet explored, physically and emotionally. I observe and retain the colour and textures of things all around me and when I paint it is my interpretation of how it feels, it is my language of expression. I tend to overthink and when I paint it is an emotional release, an opportunity to free myself and quiet my inner trappings. I am striving to let go of control and it is a process I am exploring as I continue my art journey. I like to take time playing with the colours and textures, using various tools and brushes on the canvas allowing it to evolve as I respond to what I am I feeling as I paint. The chaos of the outside world is momentarily nonexistent, and I am in a place of contemplation and exploration. My art allows me to make sense of the world, and it is in this creative process that I find true freedom. Each viewer’s experience is unique, shaped by their own perceptions, and art becomes my language to connect with the viewer exploring their own inner landscapes.

Working primarily with acrylic paint on canvas, I am an intuitive artist, I love playing with colours utilizing tools to exploring movement, texture and marks. I am influenced and strive to explore and understand works by Cecily Brown, Joan Mitchell, William de Kooning, Rothko, to name a few. When I am not immersed in creating art, I enjoy gardening, working on local community projects, making Italian food and savouring red wine.

Website: https://www.annettecourtemancheart.com

Instagram: @annettecourtemanche_art_studio

Transition

30” x 40” acrylic on gallery canvas

$2500

Kyra Kaushal

Kyra Kaushal

Kyra Kaushal is a 20-year-old multimedia painter based in Toronto, Canada, currently completing her BFA in Drawing in Painting at OCADU. In her work, she is interested in exploring the human condition and paying homage to the human form. Working intuitively, she manipulates the face and form as she sees fit, often using bold, vivid colour palettes. She fluctuates between working with paint, animation, XR, and written works to best suit her vision. Kyra has been featured in various art exhibitions in Toronto, such as Inspirations Studio 30^th Anniversary Fundraiser, Videsh: Indian Women Abroad, Myths and Legends, and Ram Darbar. She has recently taken her work to the international level in Germany with ‘Interwoven’, a travelling exhibition raising awareness for organ donors and donation. Thematically her work tends to circle raw emotion, expressionist-influence, her North-Indian background, addiction, and abuse, love, sex, relationships at large, and body image. Her favoured mediums are acrylic painting on raw canvas and digital illustration, though Kyra’s recent works explore less traditional, found material.

Blood, Sweat & Tears

‘Blood, Sweat & Tears’ is a mixed media painting on hand-stretched canvas, born from themes of overworking, tension, and cyclical drive; an abstract rendition of three hands, with blades, harvesting energy to squeeze it out into a little glass bottle. The piece is all about riding on a blade’s edge, specifically in reference to creation and existence. The all-consuming nature of creating art, and riding the edge of self-destruction and self-actualization as we navigate a world that squeezes us dry of our blood, sweat, and tears. Techno-dystopian imagery is referenced in this piece’s colour palette and pattern choice, especially in the veins of the forearms and in the background, mimicking circuit boards, wiring, and technologically-inspired geometry. Made on a hand-stretched raw canvas, Blood, Sweat, and Tears is primarily an acrylic painting, using traditional mixing medium alongside some less traditional material (wax, tissue paper, luster pigment, tape, charcoal).

Website: https://kaushalkyra.wixsite.com/works

Instagram: @kk888v

Blood, Sweat & Tears

4’ x 4’ mixed media painting on hand-stretched canvas

Carmina Pascutiu

Carmina Pascutiu (she/they) is a Romanian , multidisciplinary, community-based artist, writer, and designer working in Theatre and Film. With a diverse background in production design, set decoration, antiques, and restoration, Carmina brings an unbridled passion, unique vision, and devoted craftsmanship to each project she undertakes. Carmina’s most recent work includes the production design of a music video for Yound, a locally beloved band, and their song, “The Man on the Internet,” where she notably created an intricate tech room out of found electronics on mounted plywood. Carmina also created the scenic design for the communal, celebration, “May the Mushroom Lead” in the art show “Learning with the Land: A Lesson in Post-Capitalist Design”.Outside of her design work, Carmina’s medium of choice is collage. Her collages are handmade out of vintage magazines, predominantly National Geographic and Time magazines, that aim to bring light to political, sociological, and psycho-spiritual subject matter. Carmina is currently working on a collaborative, collage-based graphic novel set to be published in the coming year.

Life is a collage. An interdependent and interdimensional collection of sights, feelings, and experiences. All perfectly patterned. Our art merely serves as an expression of our collaged lives — a microprint of our soul and consciousness — here, now, infinitely. How profound this life and its cosmic intelligence can be. And how magical our expression of it. How divine our love. How boundless our faith. Yet how painful our fear, our hatred, our evil — our rejection and destruction of life. With the ever-present power yet imminent collapse of the capitalistic superstructures at play in this matrix we call life, our suffering is only natural. My art is an expression of this. This awareness, anger, sorrow, hopelessness, fear, and confusion, at the very core of our divinely powerful and infinite being. Of course, concurrent with our suffering is also love, beauty, faith, and regeneration. My work thus challenges our complicity to evil. It is a plea for the transmutation of our suffering and fear into agentic magic. It asks, are you living in truth from love? And it calls for the need to realize our power. To make sense of our world, our consciousness, and our positions within and without. Everything and nothing.

Instagram: @blanketfartuniverse

Fortune Favours the Phony

20” x 14” collage, framed

Digital prints available for purchase upon request

Who’s Moral Compass Are You Following?

37” x 25” collage, framed

Digital prints available for purchase upon request

Where Do We Go From Here

12” x 10” collage, framed

Digital prints available at box office for $25

The Observer Meets the Creator

14” x 14” collage, framed

Digital prints available at box office for $25

Interior Design

MAKING ROOM

In the 1970s and 1980s Canadian theatre historians developed performance calendars that documented the many theatrical events that had occurred in a single theatre, town, or province over a set period. The emerging discipline of Canadian theatre history in the 1970s and 1980s featured performance calendars that tended to exclude performances that fell outside a narrow definition of “theatre” and promoted a timeline of Canadian cultural achievement that favored white, middle-class men. Our goal as a class is to engage a Canadian theatre and performance history that includes key moments or events that have been under-examined, ignored, or misunderstood. We have achieved this by developing a collective showcase of creative work that highlights Canadian female playwrights, designers, directors, performers, and other practitioners across several centuries of history.

Interior designing is a multifaceted discipline that combines various elements to create a cohesive and functional space. Inspired by playwright Rosa Laborde’s play Interior Design at Tarragon Theatre that premieres this fall, students in York University’s Canadian Theatre History class developed creative work (e.g. painting, photo collage, digital print, poetry, costume design or set design sketches, visual media) that “makes room” in Canadian theatre and performance history for female theatre practitioners and/or engages Tarragon’s history of supporting female playwrights. Our goal as a class is to identify and engage Canadian theatre and performance history that includes key figures, moments or events that have been under-examined, ignored, or misunderstood.