Dave Conlon 

Window Pain: A Reflection of Light and Time 

February 7 – May 24, 2026  

Community Gallery – Hallways  

Dave Conlon’s Window Pain: A Reflection of Light and Time explores memory, impermanence, and the quiet presence of abandoned spaces. Created from photographs taken over more than a decade across Canada, the United States, and abroad, the works are presented in reclaimed wooden window frames sourced from an abandoned home, directly linking image and history. Photographed exclusively with natural light as it fell through the original windows of these spaces, the images preserve the atmosphere of rooms paused in time. 

At the heart of the exhibition is a three-panel shadow box built from a salvaged window, featuring layered photographic prints that create depth and echo the fragmented nature of memory. Surrounding works include traditional prints and back-lit, semi-transparent images that allow light to pass through them like the windows they were captured through. Together, the exhibition invites reflection on how places change after abandonment and how light and time reveal the traces that remain. 

Dave Conlon is a Canadian photographer best known for his atmospheric documentation of abandoned and overlooked spaces, working under the name Freaktography. For over a decade, he has explored forgotten homes, ghost towns, industrial ruins, and remote sites across Canada, the United States, and beyond. Using almost exclusively natural light, Conlon photographs spaces as he finds them, preserving their authenticity and emotional resonance. 

His work has been widely published and exhibited, with features in Maclean’s, National Post, CBC, and The New York Times. Currently based in Burlington, Ontario, Conlon is undertaking a long-term project to photograph abandoned and forgotten places in every Canadian province and territory, continuing his exploration of memory, impermanence, and the stories embedded within the built environment. 

Francesca Durham 

ST!LL BLOOM!NG: Emerging in Radiance, Rooted in Resilience 

February 7 – May 24, 2026 

Community Gallery – Lounge   

After years of collective uncertainty, isolation, and grief, what does it mean to still be blooming? 

ST!LL BLOOM!NG celebrates artists of colour who continue to create vibrant, meaningful work despite adversity. This community-engaged exhibition brings together nine Black and Caribbean artists who explore floral and botanical forms as symbols of transformation, memory, and quiet strength. 

Curated by Francesca Durham, this exhibition repositions softness as sovereignty, challenges conventional notions of beauty, and honors growth in all its stages—public, private, painful, and radiant. Through painting, sculpture, collage, and mixed media, these artists reclaim botanical imagery as a tool of cultural affirmation and creative resistance. 

Featured artists: Komi Olaf (ceremonial portraits honoring Black Canadian history and feminine power), Joan Butterfield (paper sculptures celebrating identity and self-expression), Sheryl Keen (tender explorations of refuge and survival), Según Aiyesan (meditations on collective resilience), Laundii (Alanja) (sculptural work staying soft through hardship), Kristen Allicock (explorations of balance and sacred partnership), Kemmy Walker (connections between humanity and nature), Funmilola Adeseun (cyclical visions of community and regeneration), Amanda Tkaczyk (collage to shift perspective).  

ST!LL BLOOM!NG emerges from a decade of community-engaged curatorial practice with the Halton Black History Awareness Society and the Caribbean Cultural Association of Halton. It invites audiences to witness what it looks like when artists refuse to dim their light, when they choose, again and again, to keep blooming. 

Natasha Martin 

Vessels of Memory  

February 7 – May 24, 2026  

Community Gallery – Corridors  

As someone who has navigated mental health challenges since adolescence, Natasha found ceramics to be a meditative, somatic practice. Vessels of Memory  emerges from that stillness, exploring memory, acceptance, and the marks left by our experiences, love, and loss. This body of work uses hollowed calabash/gourds as molds. Each gourd brings its own irregular geometry of interior ridges, dimples, and scars that dictate the clay’s final form. The vessels carry the memory of their origin, and serve as collaborators in dictating the additional surface treatments utilizing slips, underglazes, and stains. 

Creating this body of work also became a form of healing after her father’s unexpected death in 2023. Several vessels pay homage to his ancestral home in northern Ontario, where the Canadian Shield’s ancient rock shapes everything. The land there is unforgiving and beautifully scarred by glaciers. These bowls hold memories of visiting family, of her father’s presence in that landscape, and of learning that grief, like clay, cannot be forced to take shape before it’s ready.  

Natasha Martin is a ceramic artist whose practice began in 1997 through an early mentorship with renowned Pakistani potter Sheherezade Alam, later continuing with brief study in Toronto. After a twenty-year hiatus, she returned to clay in 2019 at Inspirations Studio, a social enterprise supporting women and non-binary individuals facing marginalization. When the studio closed during the pandemic, she established a home practice that became central to her mental health and wellbeing. 

Her work has appeared in numerous juried exhibitions, including Workman Arts’ Being Scene, Northern Contemporary’s Holiday Show and Sale, Arts Etobicoke’s Emerging Artists Over 30, and the Museum of Dufferin’s Earth & Fire festival, and she was featured in UPPERCASE Magazine’s Fresh Talent (2024). Based in Tkaronto (Toronto), Vessels of Memory marks her first solo exhibition.