Past Exhibitions

Brianna Gluszak

Her work utilizes the act of observation, relationships, and formal investigations. Gluszak focuses on the creation of objects, to escape from the mundanity of everyday life.




Iron Identity: Contemporary Jewellery by Alex Kinsley Vey (June 11 - August 14, 2021)

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Image: Alex Kinsley Vey. 'Gold für Eisen' ring series, 2018. Steel, paint, 14k gold.

A selection of work from this exhibition is available for sale in the Craft Ontario online shop.

June 11 - August 14, 2021
Reception by Appointment: Sat, Aug 7, 6-9pm & Sun, Aug 8, 1-4pm
Craft Ontario Gallery, 1106 Queen Street West, Toronto

‘Iron Identity’ is a solo exhibition of work by Toronto-based contemporary jeweller Alex Kinsley Vey.

“Hamilton, my hometown on the shore of Lake Ontario, has traditionally been a steel producing centre. Despite the industry having died down in recent decades, its industrial activity is still apparent. ‘Iron Identity’ references my time growing up there, and the impact this place had on me.

Brooches, rings and neckpieces evoke and commemorate this identity through the use of oxides, coarse finishing, and sturdy construction. I use colours associated with industrial machinery and abandoned sites – bright colours that contrast signs of rust and deterioration. Transporting this aesthetic to the body allows it to be worn close, displayed with pride, and given reverence as a jewellery object.

The places and structures I reference directly influenced the culture of Hamilton. These former steel mills, manufacturing facilities, and factories provided good, working class jobs, and were once economic symbols announcing the prosperity of the city. Now that we have moved into a post-industrial economy, these places look dirty and out of place. I grew up around the last of these industrial sites when the flame of industry was already diminished. I feel compelled to record the physical and emotional identity of this city in order to come to a better understanding of my own identity.”

– Alex Kinsley Vey


Alex Kinsley Vey is from Hamilton, Ontario, where he received jewellery training from his parents. Moving to Toronto in 2010, Alex studied jewellery at George Brown College, receiving an Advanced Diploma in Jewellery Arts in 2013. Alex has shown work in Canada, Europe, and the United States. He has been a member of Craft Ontario since 2012, Klimt02 since 2017, and was a Harbourfront Centre Craft and Design Artist-in-Residence from 2015-2019. He is currently a member at Jewel Envy in Toronto's west-end. Alex is a sessional instructor at OCAD University in Toronto, and has previously taught at George Brown College in Toronto, and NSCAD University in Halifax.

Alex is represented by Galerie Noel Guyomarc’h, Montréal.


'Iron Identity' is part of the 2021 DesignTO Festival, January 22-31.

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The artist gratefully acknowledges support from the Toronto Arts Council.



SECURITY BLANKET: Embroidered textiles by Jennifer Smith-Windsor (March 9 - April 7, 2021)


Image: Jennifer Smith-Windsor. 'SECURITY BLANKET: Russia' (Detail), 2018. Vintage military issue blanket, vintage doilies and lace, embroidery floss. 196cm x 136cm. Photo by Chris Snow.

March 9 - April 7, 2021
Craft Ontario Gallery, 1106 Queen Street West, Toronto

The crisis of the global COVID-19 pandemic has drawn into sharp focus our collective global vulnerability against the threat of an unknown enemy. It has forced us to change our habits, from the way we work, shop, travel exercise, and perhaps most importantly, greet and visit friends and loved ones. It has forced us to ask critical questions such as: What does it mean to be safe and secure? How can we protect ourselves, our families, our friends and strangers? How can we secure our country from incoming, potentially unseen threats?

Coming at a time when we are all searching for comfort and the assurance that we will be safe, the SECURITY BLANKET series seeks to explore the above questions and more. The first object to touch a newborn baby, the blanket offers warmth and reassurance, but the blanket continues to be an object associated with well-being and security long after early childhood. Security is defined as a state of being safe and free from worry, but is there more to its meaning than initially suggested by this dictionary definition? SECURITY BLANKET explores two notions of security. First, the security of the home – represented by antique, handmade domestic textiles such as doilies and lace. And second, the security of the state – represented by eight government-issue military blankets from Australia, Canada, Germany, Great Britain, Italy, Russia, Switzerland and the United States. These repurposed objects constitute a blank canvas onto which another layer of meaning can be added to their already nuanced histories. The intricate patterning created by the use of traditional embroidery stitches integrates these two divergent representations of security on both a physical and conceptual level, producing works of visually interesting contrast that provoke the viewer to consider their own relationship to home, comfort, safety and security.

Jennifer Smith-Windsor is a textile artist based in Stratford, Ontario. She was the 2019 recipient of the Craft Ontario Helen Frances Gregor Award for excellence in contemporary textile and in 2010 received the Mary Diamond Butts Scholarship in Embroidery and Needlecraft, also from Craft Ontario. Jennifer’s art practice focuses almost exclusively on hand embroidery. When hand stitching, she deliberately uses a limited range of stitches, exploring the wealth of possibilities that this restricted repertoire offers. Vintage, handmade textiles figure prominently in her work as reclaiming them and giving them a second life is incredibly important to her. They act as her starting point, a blank canvas onto which another layer of meaning can be added. She has always been drawn to cloth; embroidering as a child, sewing her own clothes as a teenager, studying textiles at university, working in theatre costume departments as a young adult and now with an active textile art practice. It is cloth’s intimate relationship to the body, its ubiquity in our lives, its associations with the home, its links to the past and its relevance to the future that continues to inspire her.


Mass Wasting: October 22 - November 14, 2020

Bettina Matzkuhn - Thicker than Water

Image: Bettina Matzkuhn. 'Thicker Than Water (detail)', 2019. Hand embroidery, cotton canvas, paint.

October 22 - November 14, 2020
Craft Ontario Gallery, 1106 Queen Street West, Toronto

Responding to the current era of rapid and accelerating change to the landscape, ‘Mass Wasting’ explores the impact(s) of environmental destabilization through the lens of craft practice.

Through both direct and indirect human intervention, the form of the Earth is changing. Extractive mining practices and deforestation have immediate and obvious effects, while warming temperatures are causing unprecedented thawing of permafrost. The term ‘mass wasting’ refers to the geomorphic process by which rocks and soil move downhill (eg. rock slides, soil creep and thaw slumps). ‘Mass wasting’ is both cause and effect: the means by which we have arrived on this increasingly unstable ground.

This exhibition aims to address the psychic, social, cultural, and political impact of environmental unpredictability as identified by artists working in diverse craft media. It also considers the ways in which instability can open up fissures of possibility — opportunities for change and innovation.



Christy Chor
Aleena Derohanian
Reid Ferguson
Daniel Gruetter
Jennifer Lantz
Lindsay MacDonald


Bettina Matzkuhn
Charlize-Nhung Nguyen
Emma Piirtoniemi
Meghan Price
Amanda Rataj


SLICE: Biodigital Jewellery by Paul McClure (September 5 - October 3, 2020)

Brooched by Paul McClure

Image credit: Paul McClure. 'Slice' brooches, 2020. Nylon, stainless steel. Approx. 8 x 4 cm each. Photo: Digital by Design.

September 5 - October 3, 2020
Reception by Appointment: Sat, Sept. 12, 11am-3pm & Sun, Sept. 13, 2-6pm
Craft Ontario Gallery, 1106 Queen St West, Toronto

See a video gallery tour by curator Robyn Wilcox
See a selection of Paul McClure's work available for sale online


'Slice' is a collection of jewellery expressing my fascination with the microscopic realm of the human body. Abstract forms refer to bacteria, viruses, cells and their structures within us. As these invisible but universal components come to define us, they also acquire cultural meaning independent of their biological definition. The highly aestheticized microscopic imagery and cutaway diagrams from popular science are particular sources of inspiration for this work: geometric forms, graphic patterns and vibrant colours. The forms are “digitally handmade” using a combination of computer modelling and 3D printing technologies with traditional metalworking techniques of forming, fabricating and finishing. Slicing through these forms reveals surprising and pleasing sections and patterns. However, the slice, like a microbe itself, exposes tensions between the benevolent and sinister, the beautiful and ugly, the fascinating and fearful.

– Paul McClure


Paul McClure is an Irish-Canadian artist and designer of contemporary jewellery. His work is represented in private and public collections including the Montreal Museum of Fine Arts; Canadian Museum of History; Design Museum of Barcelona; and National Museums Scotland. McClure graduated from NSCAD University, Halifax, Canada (BFA, 1989); Escola Massana, Barcelona, Spain (1990); and National College of Art and Design, Dublin, Ireland (MA, 1999). He is professor in the School of Fashion & Jewellery at George Brown College, Toronto. In 2015, McClure received the Saidye Bronfman Award, a Governor General’s Award, Canada’s foremost distinction for excellence in the visual arts.

Paul is represented by Galerie Noel Guyomarc’h in Montréal, Canada.

The artist gratefully acknowledges support from the Ontario Arts Council, Birmingham City University and George Brown College.


ART OF THE BOOK 2018: MARCH 6 - JULY 5, 2020


Image credit: Alleppo: Tragedy Unfolding by Geraldine Slater

March 6 - July 5, 2020
Reception: March 12, 2020 from 6-9pm
Craft Ontario Gallery, 1106 Queen St West, Toronto

Since 1988, the Canadian Bookbinders and Book Artists Guild has organized 'Art of the Book', a juried exhibition of book arts held every five years. 'Art of the Book 2018'  celebrates the 35th anniversary of the Canadian Bookbinders and Book Artists Guild.

The exhibition features 67 uniquely crafted pieces covering eight categories: fine binding, box-making, paper-making, fine printing, paper decorating, restoration, calligraphy, and artists’ books from Canada, the United States, England, France, Spain, Australia, Hong Kong and Singapore.

Jurors: Betsy Palmer Eldridge, Jan Elsted, Lang Ingalls, and Susan Warner Keene.

Participating artists:


Doug Beube
Marc Blouin
Servane Briand
Sarah Burnett-Moore
Lorraine Butler
Joan Byers
Nicole Chalifoux
Clara Congdon
Mary Conley
Cécile Côté
Lorraine Douglas
Odette Drapeau
Carolyn Eady
Martina Edmondson
Karen Hanmer
Erwin Huebner
Frances Hunter
Jenny Iserman
Margo Klass


Trisha Klus
Adelene Koh
Kristina Komendant
Richard Labrosse
Roxanne Lafleur
Jerene Lane
Roberta Lavadour
Christiane Lenz
Concha Luna
Marlene MacCallum
Margaret M. Mah
Rebecca K. Martin
Lise Melhorn-Boe
Rhonda Miller
Troy Moore
Lorna Mulligan
Kausar Nigita
Elaine Akiko Nishizu
Helen O'Connor


Miguel Pérez Fernandez
Delphine Platten
Debra Frances Plett
Carolyn Qualle
Flora Shum
Dawn Skinner
Geraldine Slater
Annie Smith
Percy So
James Spyker
Gail Stevens
Ann Stinner
Jan Taylor
Christine Trainor
Keith Valentine
Leslie Walthers
Marama Warren
Lily Yee-Sloan

'Art of the Book 2018' is organized by the Canadian Bookbinders and Book Artists Guild. 

To see more info about the exhibition, including a gallery of the juried works, visit


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Illuminations-Elizabeth Goluch

Image credit: Horticulture (detail) by Elizabeth Goluch, photo by Keith Betteridge.

January 15 - February 23, 2020
Reception: Thursday, January 23, 2020 from 6-9pm
Craft Ontario Gallery, 1106 Queen St West, Toronto

An exhibition produced by the Metal Collective.

Inspired by Canada's 150th Anniversary in 2017, this collection of contemporary silver candleholders, made from heritage silver, honours Canadian women's creative past and inspires their future.

Illuminations is a travelling exhibition produced by the Metal Collective and curated by Laura Brandon, featuring the work of:


Anne Barros
Anne-Sophie Vallée
Beth Alber
Brigitte Clavette
Chantal Gilbert
Charles Funnell
Elizabeth Goluch
Fiona MacIntyre


Jackie Anderson
Ken Vickerson
Kye-Yeon Son
Lois Etherington Betteridge
Mary Anne Barkhouse
Mary K. Mcintyre
Myra Tulonen Smith



CRAFT19 newsletter2

Image credit: Tidal Pendant by Lindsay MacDonald

September 5 - October 12, 2019 
Reception: September 5, 2019 from 6-9pm 
Craft Ontario Gallery, 1106 Queen St West, Toronto

Craft Ontario ’19 surveys the work of members across the province, and presents the very best of contemporary craft.

The exhibition includes work from each of the core regions of the province, with four exhibitors selected by the jury to be recognized with awards for Best in the North, East, Southwest, and Central Ontario.

Award Recipients:
Best in Central Ontario - Amanda Rataj
Best in Northern Ontario - Judy Martin
Best in Eastern Ontario -  Lindsay MacDonald
Best in South-Western Ontario - Tammy McClennan

Craft Ontario ’19 jurors: Annie Tung, David Kaye, and Susan Jefferies.

Amanda Rataj
Brianna Gluszak
Hae Joung Han
Janet Macpherson
Joon Hee Kim
Judy Martin

Linda Brine
Lindsay MacDonald
Susan Low-Beer
Tammy McClennan
Tanya Lyons
Wanxing Wang 


See the Exhibition Catalogue



1 TBHR Akimbo

Image credit: Float by Annika Hoefs

April 11 - May 12, 2019
Craft Ontario Gallery, 1106 Queen St West, Toronto

Working with clay actively engages the body. The artists in this exhibition trust that their lived experiences, stories, and skills are indwelled in the muscles used to make their work.

Each of the artists in this exhibition took part in the Muscle Memory International Ceramic Symposium & Residency, which was programmed and founded by Mimi Kokai in collaboration with the International Ceramic Studio (ICS) in Kecskemet, Hungary and took place in both 2017 and 2018.

Experiences of injury and recuperation informed the theme to the Muscle Memory symposium. One of the purposes of the residency is to demonstrate the power and the skill of artists with disabilities.

During each of the residencies the artists became a strongly knit community. Many of the artists have noted the mentorship, and guidance they received from their fellow participants. It is remarkable to imagine the strength and trust that was built and cultivated not just within their own bodies as they worked with clay, but also with each other.

All of the works explore various themes surrounding tacit knowledge, and the body’s ability to bounce back, grow, resist, and remember.



*The title of this exhibition was inspired by the title of Mari Sorri’s seminal article The Body Has Reasons: Tacit Knowing in Thinking and Making, which was inspired by Blaise Pascal who wrote “the heart has reasons which reason knows not of”.

Mari Sorri, The Body Has Reasons: Tacit Knowing in Thinking and Making
Journal of Aesthetic Education
Vol. 28, No. 2 (Summer, 1994), pp. 15-26 (12 pages)
Published by: University of Illinois Press


Housewarming: January 19 - March 2, 2019

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Image credit: Rug by Micah Adams

January 19 - March 2, 2019
Craft Ontario Gallery, 1106 Queen St West, Toronto

Juried by: Suzanne Morrisette, Susan Fohr, and Sajdeep Soomal

Housewarming explores the idea of home through objects that make references to habitational spaces, activated through the routines of day-to-day life.

Works in this exhibition range from functional to representational forms, and many share a relationship to the body through suggestions of sustenance and care. Other works may problematize the idea of the home, gesturing instead towards a subversion of stereotypical images, questioning whether or not these are always welcoming spaces.

All of the work in the exhibition shows a skillful deployment of materials in ways that speak to varied and complex relationships with the idea of home.



Who We Are

Formerly the Ontario Crafts Council, Craft Ontario is a not-for-profit service organization that works to have craft recognized as a valuable part of life. We promote and celebrate professional craft through providing member opportunities, and advocate for craft practice by educating and empowering diverse audiences.