MONDOmagazine

Amy Belanger

By Amy Borkwood

Amy Belanger is a multi-talented artist, working with everything from embroidery to jewellery to printmaking. She lives and works in Halifax, but you can find her work all over Toronto: necklaces at Heart On Your Sleeve, “Canadian Ragdolls” at the Souvenir Shop, or online at Toronto-based goodEGG Industries. We chatted recently about her work and practice, and what has been inspiring her lately.

MONDO: Can you tell me a bit about your background in the arts? I know you went to school at NSCAD, and the first time I saw your work was at the Toronto Outdoor Art Exhibition this summer. Can you tell me a little more about you and your work?

Amy Belanger: Well, I could go back as far as decorating pumpkins at my birthday parties and feeling like I had an exceptional talent over my five-year-old companions.  Soon after those youthful days I was in university for environmental resource studies. I had some great experiences in high school, and after that I travelled and worked on farms. Ultimately, this changed my perspective. I became and remain interested in working as part of a community. There are thoughts that a person is educated to improve herself and therefore become a valued citizen in society; or, conversely, that she can be educated in a community- and society-oriented way to make for a better individual. Both are important. Community involves food, culture, music, and arts. This is where I thrive as an individual…and why I decided to pursue art.  I studied textiles at Sheridan College and at NSCAD University in Halifax.  I am living in Halifax particularly because there is such an active group of people working for community efforts, at the amazing farmers’ market, on independent projects, and in the scattered little galleries across town.

MONDO: I’ve seen your gorgeous hand-embroidered black-on-white pieces, and your jewellery is all over Toronto. You’ve noted that you’re now working on silkscreened posters and postcards.  Can you tell me about all these different projects? What draws you to each new medium? And how is it that you’ve got such diverse, incredible skills?

AB: I was talking with my friend Jordan MacDonald about the work he was doing in ceramics and at the time he was being secretive about his project. I said “Are you not ready to show us your work because you’re too far from finished? Are you still in the development stages?” His reply was that he tries to always be in the development stages. I like that. That’s the best way I can attempt to explain why I enjoy working with a variety of materials and subjects. They all influence the other, the last, or the next. The posters and postcards involve silkscreening images that have been compiled in my sketchbooks. While working on the embroidery pieces that you saw at the Outdoor show, I started collecting sentences or things I would hear on the street, and writing them down as a way to reactivate my mind in the midst of all the time-consuming stitching. This collection turned into something like found-word poetry, I guess. It’s still something I’m playing with — in the developing stages, so to speak. The jewellery you mentioned…are necklaces made from broken tea cups and saucers. Similarly, they started out as a diversion project, using the glass studio at Sheridan to figure out how to make the pendants, while I was in my final year studying textiles.

MONDO: Your embroidered works are just stunning — they were by far the best work I saw at the Toronto Outdoor Art Exhibition. What inspired them, and what’s the process of the work?

AB: I have had a lot of time to think about what these pieces mean to me, but I still find this a difficult question to answer. I started filling up pages of my sketchbook with lines and mark-making. This felt foreign and exciting because, although these marks are familiar, they are less distinguishable or relatable to our everyday experiences. The connection to landscapes was from looking out the window of the plane. The fields and rivers made up similar patterns. It was interesting to talk to people at the Outdoor show during this time because people, instead of having personal connections [to the work], made many references to traditional craft and art: Inuit stone carving, Maori tattoos or tribal tattoos, Japanese landscapes, Indian traditional quilting and henna to name a few. The use of line is so prevalent in traditional work. It is a different kind of expression that escapes the physical reality in some way, like matter being broken up into molecules and atoms. I also enjoyed pretending I was a Mayan weaver or visiting an African tribe. The intricacies, simplicity, and universal quality are sometimes devalued or lost in our culture. I found these works so exhausting, but at the same time they are calming and reassuring. There is more to see than what is tangible, decipherable, and right in front of us — and although it’s always in-process, this is what these pieces are about for me at the moment.

MONDO: Why textiles?  How were you originally drawn to that medium?

AB: I was working at a summer art program for kids called ArtsKool (good name) after my first year at university for environmental resource studies. I worked for my high-school art teacher, and it was her and a friend and co-worker that convinced me to check out the Craft and Design program at Sheridan College. I think there was less than a month left before fall classes started so I took the first two studios available, which were textiles and ceramics. I really had no idea what they entailed, but I fell in love with textiles immediately! The splashes of colour all over the walls in the mixing room and sinks, the patterns layered all over the drop cloths, the versatility of the material, and their origins and history.  Yes, love! Prior to this, my experience with textiles came from an interest in fashion and cultural dress. I used to make a lot of my own clothes and always enjoyed hunting through second-hand stores for interesting finds and fabrics.

MONDO: I’m really interested in your community involvement. Do you consider yourself to be part of an art community, a craft community?  How do you combine working as an individual on your own projects with being a member of a specific community?

AB: I am often so inspired by the talent and great work in this little city. A few weeks ago, there was an event called Nocturne, an evening art event. It was fantastic. These are the events that I get most excited about and would be strong in any city. There was so much collaboration: from the event organizers, the individual galleries and participating artists, to the public transportation (free — with art and music en route). Every gallery was full and just walking down the street would take you to another installation, performance, or music in the street.

My involvement thus far includes attending events and being enthusiastic and participating in local crafty fairs. I would definitely love to be more involved in these events — which might involve showing my work here in Halifax. Currently I’m bartering, silkscreening for a local artist, Michelle St. Onge, in exchange for a beautiful textile space. It’s a great opportunity and definitely makes me feel like I’m a part of this craft and art community.

MONDO: Whose work are you influenced by?  Which local (Halifax) artists are you interested in right now?

AB: These people are all fantastic: Chris Foster, Lydia K, Laura Dawe, David Harper, Picnicface (comedy team).

MONDO: Are there any other mediums you’re interested in trying out?

AB: All other mediums! I would really like to build a house (cob or straw or wood) actually!

Craftoronto is back! This week, Amy reviews a few of the shows at Harbourfront Centre’s fall exhibition.

By Amy Borkwood

1. Book Art

Here is the truth: Book Art is my favourite, and it’s all I really think about. When I was 17 and first getting interested in the book arts, especially bookbinding, I went to the library and took out arm-loads of books filled with work by well-known book artists. And I was really, sadly, disappointed. The books were from the late 80s and early 90s, and it showed — all the featured books were elaborate and over-the-top, they valued form over aesthetic, and they were just generally unattractive to me at that age. The exhibition at the Harbourfront Centre — Book Variations, organized by the Canadian Bookbinders and Book Artists Guild (CBBAG) — reminded me of the disappointment my 17-year-old self felt looking at those library books. The aesthetic — over-wrought, metallic-on-black-with-calligraphy-and-beading — has remained the same in the small world of the traditional book arts. Of course, there were gorgeous individual works: there was Erin Ciulla’s series of fibre-wrapped books — linen, mohair, wool — in shades of off-white, stored in a gorgeous wooden box. A few books showcased immense skill: most bindings were gorgeous in and of themselves, and there were books with hand-set type, wood engravings, and impeccable detail. In general, though, the exhibition was disappointing, and may discourage those people just finding their way into the book arts. Though this exhibition would suggest otherwise, the book arts truly are changing: there are so many talented people, especially in the world of zine-making and printmaking, who are updating and pushing the book arts ahead, into a gorgeous and exploratory place.

2. Tweens

I think pretty highly of tweens. They’re stuck in the most terrible of places: their childhood has suddenly disappeared, their adulthood is too far off to realistically imagine, their worlds are over-grown and volatile and they have to go to junior high, and on top of that they’ve got to be strong and hold it all together. The Harbourfront Centre has a small exhibition of photography — Bye-Bye Baby and Celestial Echoes by Michelle Sank — which looks at these kids who have to somehow find their way into adulthood: that place they most desire. The photographs are gorgeous, each centering on a young person who suddenly has to renegotiate the way that they present themselves to the world. The images force the viewer to stop and take in the entire scene. Certain photographs really stand out: a young girl with a one-shouldered top and purse who treats the camera as if it’s below her, something to be looked down on; and a boy who can’t be over 14, his shirt off and his hair over-gelled, with two enormous tattoos across his chest and arm (I could almost feel the regret he’ll have by the time he’s 20 and the tribal-sleeve gets a bit old). Check out Sank’s site — her work, mostly focusing on youth in England, is just stunning. Then go and see her photography in person.

3. The Daily Lives of People in Love

There is immense beauty in the everyday, and Geneviève Jodouin’s series I don’t ever want this to end puts this delicate beauty on display. Her work is intimate as well as large-scale: the entire space is wallpapered to match the framed prints of couples involved in the commonplace (eating ice cream, going for a walk, talking in bed). Each of the pieces portrays the couple alone in the space they have created for themselves. The cleanness and repetition of each piece makes it hard to find much to explore, though they are pretty. Her other work is similar as well — you can see more on her website — a delicate and idealistic exploration of youth, beauty, and relationships. Make sure to note the sexy If these walls could talk.

Much like our recent Toronto Fringe Festival Reviews, we’ve decided to combine all of MONDO’s love for the Toronto Outdoor Art Exhibition in one, convenient place. Enjoy.

Photos by Amy Borkwood and Kendall Malchuk

By Amy Borkwood
It ended up raining all morning on the opening day of the 47^th annual Toronto Outdoor Art Exhibition, making it near impossible for the 500+ artists to set up — they manoeuvred tables, covered their work with tarps, and waited out the stormy summer weather. But by the afternoon it was sunny and bright, the perfect day for taking in the magnitude of the show, the immensity of all that creativity in one place.

As expected, there were artists whose work was awe-inspiring, that drew me in. For the most part, the most innovative work was found in the student sections. Lee Meszaros’ Merit Badges celebrate more grown-up milestones and skills than the Brownies badges they’re inspired by — such as “Leaving the Nest” or “Surviving First Love”. She makes each piece unique through a complex process of silkscreening, hand-sewing, and embroidery. Also in the student section, Amy Belanger’s textile work was just stunning: large, off-white reclaimed fabrics intricately embroidered with ink-black thread. The result is something like a landscape: the texture of hills and mountains, stitches like trails and paths. Over the weekend her work was compared to everything from Inuit stone carving to Japanese landscapes — the influence of varied traditional arts is evident in her gorgeous, stark pieces. I saw Amber Albrecht’s work as soon as I walked into the exhibition: a semi-recent graduate of Concordia, Albrecht’s silkscreened prints feature elaborate architecture, folklore, natural history. Her incredible sense of colour and stark line-work come together in complex, dreamy prints. I wasn’t supposed to be spending money, but still had to buy a print from Albrecht: a folktale-like house, screened in gorgeous greens and blues.

Most people I talked to throughout the course of the day found it nearly impossible to get through all the artists in one day — though it was entirely overwhelming, and took hours and hours, I was able to (potentially) cover the entire show in one day. But the vastness of the show was just a testament to the enormous talent of Canada’s artist community, the bringing together of art works from varied communities into one small place.

By Brad Pearson

As a creative-minded and self-styled artsy type, I’m ashamed to say I knew almost nothing about TOAE. The truth is I’ve avoided it. So many people swarming Nathan Phillips Square in the July heat triggers my art snob instincts. I expect to find the proletariat masses cramming hot dogs down their gullets, perusing a wide assortment of liquidation sale quality oil paintings, figurines of Jesus and some kids playing softball, photographs of babies dressed up as sunflowers, and other stuff that makes me cringe.

It’s good to be wrong.

The calibre and diversity of work at TOAE was impressive. The exhibit’s new Executive Director, Kelly Rintoul isn’t messing with success. The event continues to leverage corporate and municipal partnerships to keep registration fees low, which lets a variety of new and established artists participate; keeping the work fresh and less mass-market driven than it might be otherwise.

John Ovcacik has attended TOAE for the past eleven years, bringing his work all the way from Chelsea, Quebec. “It’s gotten progressively better,” he said when asked about the show. He seems like someone who would know; his paintings demonstrate real talent and discipline. They hold to a formal geometric realism, much like Christopher Pratt, but use a warmer pallet of colours to play with light and shadow in an arresting way. He usually brings six to twelve pieces and has noticed some repeat clientele over the years. In his best show he sold eleven paintings.

Another Quebecer, Myriam Bouchard, exhibited for the first time. She came from Saint-Antoine-de-Tilly and will definitely be back next year. She’s worked with ceramics for five years now, experimenting in Japanese wood-fired techniques, creating beautiful organic feeling pieces. She was impressed by the quality of work she saw on display; “Particularly the young people,” she said.

Comic book artist and illustrator, Mike Parsons agreed. “They’re definitely an edgier crowd,” he said. You can often find Parsons’ trippy signature black and white illustrations gracing the sidewalk in front of the Black Bull, on Queen Street West, so he probably appreciates the energy young artists and clientele bring to a show this established. He’s come to TOAE six of the past seven years.

TOAE is certainly a working artists’ show; they’re hoping to sell their wares and impress the gallery curators who regularly attend. But beyond its commercial aspects, the event is also a juried competition that’s meant to promote the visual arts to a broad public audience. $35,000 in prizes are awarded in over forty categories, including student work. A selection of the best pieces will be put on exhibition in January 2009. It’s a show I plan on checking out. I might even grab a hot dog for the occasion.

By Kendall Malchuk

Although I was impressed by all of the varied artists, a few exhibits stick in my mind. As a fan of complete randomness in art, I was immediately drawn to the extremely varied work of Bruce Turnbull. Ranging from pretty nature paintings of fields of bees to edgy, political works of surreal imaginings, I found it almost hard to believe that all these different styles came from the brush of one artist. In speaking with the artist I quickly was attuned to his strong opinions and love of whimsy. Both came across in his paintings.

The artist that impressed me the most was Lesley Green. Her fairy-tale inspired sculptures were both completely innovative and beautifully disturbing. She used classic fairy-tale scenes, and infused them with grotesque faces. The sculptures were haunting and poignant, and I wasn’t at all surprised to see that they had all sold. My favourite piece decrypted little red riding hood and the wolf hiding behind her in the bushes. The true power of this sculpture was that the face of Red Riding Hood was far more horrific than the face of the wolf.

By Matt McGreachy

Reviewing an art fair is a bit like reviewing food in an upscale cafeteria: lots of good stuff on offer, but no real menu to comment on. Of all the booths of artists hocking their wares, here was what stuck in my mind (and would have made a dent in my pocketbook, if only I had the money to spare).

Janine Miedzik’s abstract colour work was a delight. Her paintings, ranging in size from small pieces to paintings that would have filled the wall showed a mastery of colour and technique as well as a commitment to the modernist project. Her work was all about material and sensory appreciation of the paint, and it was very exciting to see an artist still working in firm abstract terms among all the realist nudes and glasswork that filled Nathan Phillips Square.

David Marshak’s detailed photorealist paintings of cityscapes (including, of course, Toronto) were extremely striking. The representation of houses, streets, and automobiles were rendered beautiful by his wonderfully colourful depictions; it was like seeing the world as I WISHED I could see it: in fine, artistic detail and in living colour.

Scott Chandler stood out among the photographers, especially for his “Hotel Lobbies” series. The eerie panoramic shots of some famous hotel lobbies were haunting not only because they were completely empty, but because they seemed somehow to be such a part of our modern psychic landscapes. His concern with how humans relate to constructed spaces is so important because now more than ever it seems that humans are highly mobile and constantly encountering strange, constructed spaces, just like hotel lobbies, and are forced to confront them as real spaces, rather than the carefully planned and decorated rooms that they are.

Jon Jarro’s paintings of flowers, especially of magnolias, seemed perfect to me in the hot summer heat. They just exuded cool, calm breezes, and seemed to capture the flowers at their most perfect: fully bloomed and in the mid-day sun. I almost expected to see them sway with the wind.

For even more information check out TOAE’s official website.

World Washi Summit

June 7-15, 2008
35 locations in and around Toronto

By Amy Borkwood

How many ways can you possibly manipulate Washi — through folding, gluing, dyeing, painting, cutting, printing, sewing, etc. — in order to create something absolutely new? This is what the World Washi Summit seemed to be asking of its artists throughout this one-week exhibition of Washi (the Japanese word for traditional papers, made by hand for over 1400 years, from renewable, indigenous plants). Galleries (and restaurants, retail stores, and more) all across the city dedicated their spaces to the exploration of this traditional paper, featuring new and experienced artists, all working within the medium of Washi.

The hand-making and traditional uses of Washi — and this is applicable to fine craft and handmade goods in general — have drastically reduced with the use of machines in traditionally handmade goods and materials. The purpose of the summit is to draw attention to the traditional roles of Washi, through showcasing the creative possibilities of this medium.

The potentials of Washi seem limitless: at the Toronto School of Art exhibition, there was an exact replica of a newspaper, intricately hand-lettered and hand-drawn, next to an installation of origami shoes, spread along the entire gallery floor, which ended at a podium full of shakeable folded boxes (seeds and bells sounding inside). My favourite piece at this gallery was Yoko Nomura’s “Yozakura (Cherry Blossom in the Night),” which was really a study of the Washi itself: loosely layered sheets of Washi, made with Washi-petals inside the paper as well as on the floor directly in front of the piece, as if the petals had been falling slowly from within the paper over the course of the exhibition.

My boyfriend and I subwayed and trammed down to Propeller gallery, just to find that the show didn’t officially open until the next day — only to be let in for an early showing by a (wonderful) woman working in the gallery. Though the gallery wasn’t completely ready to be viewed — there were papers and rulers along the floor, notes on the walls about the placement of each piece — the work that we saw was stunning. One piece by Teri Donovan stood out: black-ink prints of houses on off-white Washi, with hand-embroidered root systems trailing from each house.

After Propeller we headed to the Ontario Craft Council gallery, where 13 artists had been working over the June 7/8 weekend to create gorgeous, innovative Washi works. Within two days, the artists collaborated or worked individually to craft mobiles, “paper cups” (glass cups overflowing with torn Washi), jewellery (a necklace made of large, egg-like sculptured Washi), multiple collages, and even a scarf knit from Washi and shredded office paper. The OCC exhibition, all crafted within the two-day deadline, is now being auctioned off to the public. Go to the OCC show if only to see the knit-paper scarf. Honestly, how is that possible?

By Amy Borkwood

*Note: photo credits appear as a mouse over*

Toronto Craft Alert is a volunteer-run blog which acts as an essential resource for all Toronto-based crafters. It spreads information about upcoming craft shows, gives details on where to find supplies or attend a workshop, and allows for discussion amongst the city’s craft-folk. The TCA was started in February 2006 by Jen Anisef, a Toronto-based craft-maker and enthusiast, with its goal being “to galvanize the city’s craft community”. Jen also recently opened up an online, Canadian-focused craft and design shop, goodEGG industries. The site is a collaborative effort between Jen and Laural Raine. I interviewed Jen to find out more about the TCA, and also to look for more ways in which new crafters can become involved in the diverse community of craft in Toronto.

MONDO: First off, can you tell me a little about why you started Toronto Craft Alert, and what you wanted it to be at the very beginning?

Jen Anisef: I started the Toronto Craft Alert on a whim. After having been asked a few times where I find out about craft fairs and finding that I had no good answer to this question, I emailed the few crafty types I knew in Toronto about starting an email list to share information about craft fairs and any other craft-related stuff happening around town. I asked them to spread the word to craft-engaged friends so we could get a bit of a network going. I threw up a blog just for fun, thinking of it as a secondary info-sharing space where we could post pretty pictures (plus I had always secretly wanted a blog, and this was a great excuse). So I guess my initial intention was to bridge a gap in information flow amongst Toronto crafters. I feel like this is still really central to what the TCA is about, but it has evolved so much beyond this point!

MONDO: What kind of feedback/response did you initially receive about the blog? Who was reading it, and who was taking part in the discussions?

JA: People were really enthusiastic about it — they felt it was something that Toronto was missing and were very supportive about the project. A number of people felt that the craft community was too segmented and could use a place to come together and were excited about the TCA in this sense.

My first email introducing the TCA went out to a handful of Toronto-based craft bloggers who were kind enough to post about the TCA on their own blogs, and for the first while they were the main people commenting and sending in tips. Some store owners were also quick to take advantage of the opportunity to promote their workshops and events. Word spread fast though, and individual crafters and craft artists came on board shortly thereafter.

MONDO: You attended the first Craft Congress last year in Pittsburgh. Can you tell me how you ended up attending the Congress, and what exactly happened there? Did you apply anything you learned from the Congress to your work with the TCA?

JA: To be honest, I’m not totally sure how I got hooked up to the Congress. I received a mysterious invite to their Yahoo group perhaps from a fellow Torontonian or the organizers may have found me through their extensive Google searching for craft-related initiatives. There were a handful of craft-engaged people from Toronto involved in the Yahoo group, and Leah (Reverend Mother of the Toronto Church of Craft), Becky (proprietress of the Sweetie Pie Press and founder of the Good Catch Craft Fair series in Parkdale), and I ended up organizing a road trip to the Congress.

To recount what went down at the Congress would take a book. But in brief, it brought together 50 craft “leaders” (mostly “indie” craft-fair organizers) from across North America and the UK to discuss best practices for craft-related organizing, as well as more general topics such as the evolution of the independent craft “movement” or crafts and political activism…

I would say there were two major things that I took away from the Congress that feeds into my current activities in craft:

1. An awareness of the diversity of craft cultures across geographies. Meeting people from Florida (where craft fairs happen in strip malls and crafters constantly have to explain why their items are more expensive than Walmart), and Austin (where the indie craft scene has been booming for years and years) opened my eyes to the fact that Toronto’s craftscape is unique. I hope to explore this more through the TCA and other craft ventures.

2. An alliance with Leah and Becky (previously just acquaintances) spawned City of Craft, a craft collective that aims to build community amongst crafters in Toronto, support independent craft businesses, and encourage the larger community to get involved with crafty happenings in the city. TCA is a partner in putting on all kinds of events through City of Craft, including a mega craft fair and craft-culture event in December.

MONDO: When I moved to Toronto I used the TCA as a reference guide to find resources, and upcoming sales, and to learn about local craftspeople. Are there any other resources that you’d suggest to individuals, either new to the city or new to the world of craft, who want to become involved in the craft community in Toronto?

JA: When I first started the TCA I relied heavily on arts mailing lists like Instant Coffee and Akimbo to find out about craft-related events and exhibitions. Though their focus is more art-art, there are definitely craft-related listings to be found. Toronto Street Fashion covers a lot of crafty territory, like designer profiles, indie craft shop reviews and some craft fair listings. It takes some scouring, but you can find lots of craft-con in NOW magazine, especially in the style section by Andrew Sardone. Likewise columnist Natalie-Roze Fischer is a fantastic supporter of local craft initiatives. Look for her as the Frugal Fashionista in Metro or the DIY Style columnist in the Toronto Star.

***

If you are interested in a particular craft, find out if a related shop (e.g. knitting store, fabric/quilting shop) hosts a stitch ‘n bitch so that you can meet and learn from others in your community of interest. Taking classes at these shops or schools is another way to meet people or ease your way into the world of crafting. There are a bunch listed on the TCA under “Get Schooled”.

In which Toronto-based craft is discussed and explored, and art and craft are blurred into a fuzzy category of wonder.

By Amy Borkwood

Introductions! I (very) recently moved to Toronto for the following reasons: to involve myself in the Toronto craft community; to take part in small, community-driven craft shows/sales; and to make as many handbound books as humanly possible. This bi-weekly column will document my adventures as I navigate the craft world of Toronto — from finding resources and attending shows to profiling crafters and artisans across the city.

This past Saturday I attended the Heart & Craft Eco Artisan Market. Oh, outdoor markets in Springtime! In Kensington, where locals and tourists come together to browse eco-wares along sunny sidewalks.

Quick inventory of the eco-market:

+ salvaged barn-board mirror frames
+ vegan, locally-sourced body care
+ unbleached, organic knitwear
+ locally handmade wooden toys
+ more + more!

Due to the amazing wares, the show was amazingly busy. I was set up next to the very lovely maker of reclaimed barn-board-frames, and I am pretty sure that he sold a rustic, woodsy frame to every person who stopped to look at his work. The fragrant smell of vegan soap attracted passers-by into the market, as tourists stopped to take pictures in front of the vendors, the sunny Kensington storefronts behind them.

In general, craftspeople are innovators in the world of eco-friendly wares. Not only because they’re forced to be eco-conscious — creating their goods locally, inherently avoiding toxic materials since the work is done by hand — but also because of their own inventive crafting choices. Locally, there are some pretty amazing things happening. Post Industrial Ware is making underwear reconstituted from used fabric; simply. uses organic, all-natural ingredients in their handmade soap; local clothing designers Passenger Pigeon use organic cotton, hemp, ecospun, and tencel in their work. Keep an eye out for more crafters/artisans utilizing eco-conscious materials and practices all across the city.

PS! Due to the popularity of this first Heart & Craft Eco Artisan Market, a second event will be held on August 16 at Heart on Your Sleeve, on the corner of Bellevue & Nassau in Kensington Market.

PPS! Be on the lookout for an interview with someone very amazing in two weeks’ time! I will promise you, she is the most-celebrity-of-Toronto!