"This show began with a simple idea, the word neighbour, and quickly opened up into something much more expansive and human. The works featured in this exhibition explore what it means to live beside, with, or in relation to others. Some pieces are tender, some questioning, some playful, and all are deeply considered. We’re proud of the conversations they spark.

Right after this note, you’ll find Nathan Dunn’s curatorial statement, a thoughtful reflection on how this show came to be and what it invites us to consider. Following that, the catalogue includes all the works juried into Neighbourly from across the country.

We hope you’ll take your time moving through it. And if you’re in the area, please come by Coles Art Market to experience the exhibition in person. There’s nothing quite like seeing the work up close, feeling the energy it carries, and sharing space with others in reflection and conversation."

"Observations on Neighbourly

Neighbourly came to be from a conversation held during a team huddle at Coles Art Market. It began as a discussion about the state of the world and how this state might impact us personally, professionally, as a community, or even emotionally. This conversation became a reflection on the word “Neighbour”, a term that had suddenly become very prominent in reporting on current events, particularly in reference to a certain “neighbour” to our southern border. That conversation evolved into a deeper inquiry into the word itself and how it carries a particular weight that extends beyond its dictionary definition.

We began to ask: What are the true terms of being a neighbour? Are we applying morals and ethics to this word that aren’t inherently there? What makes a good neighbour? Perhaps the word was never quite right to begin with. We concluded that a neighbour who does not act neighbourly simply isn’t one at all. But then, what does it mean to be neighbourly?

What a fantastic, and timely, question.

Artists from across Canada answered our call, each exploring what Neighbourly means to them and offering a wide range of perspectives on the word and its significance.

Some asked the question of who we consider our neighbours, and how that very question shapes our treatment of others. It's a consideration that influences our behaviour toward one another as individuals, toward the wildlife we “share” space with, and toward the natural world itself.

Others focused more intently on the partnerships and interconnections found in nature: how ecological communities and organisms support and rely on one another, and how observing these systems can deepen and expand our own understanding of community. Some took this further, drawing stark contrasts between the balance found in functioning ecosystems and the behaviours of our own society, revealing how our priorities often tend toward destruction rather than harmony.

Space emerged as a powerful focal point for nearly all our artists. Many honed in on how distance, design, and boundaries shape our behaviour; both in relation to our environments and in how we engage with one another within them. Their observations ranged from the frustration of a quiet, crowded commute, to the awe of being immersed in nature, to the urgency of navigating the liminal spaces we create for ourselves and others. The spaces we inhabit and move through shape how we act, feel, and connect.

In contrast, some works reminded us that our most meaningful connections aren’t always defined by geography. Sometimes, our neighbours are those we choose: people we meet through shared experience, mutual support, and quiet understanding. These connections form chosen families and communities, grounded not in physical proximity but in emotional resonance, shared values, and a sense of belonging that can feel almost spiritual.

Several artists explored how food has become a universal symbol of our humanity, a metaphor for connection, a gesture of care and consideration, and a bridge between cultures. From shared meals and passed-down recipes to the simple act of offering, or borrowing, a cup of sugar, food becomes a way we celebrate, nurture, and create belonging. It is a quiet yet powerful means of drawing people in, of turning strangers into neighbours, and of transforming brief gatherings into lasting memories. 

In a kind of quiet contrast, some artists turned inward, asking whether the neighbour we seek might, in fact, be ourselves. Through solitude, meditative action, or immersion in the natural world, they explored moments of personal connection; a kind of sociality with the self. In these reflections, nature becomes not just a backdrop but a presence to engage with, a conduit for self-understanding, and a space where independent experience becomes a form of communion.

The temporality of being neighbourly also emerged: a reminder that time quietly shapes all of our relationships. Campers passing through parks and campgrounds, commuters crossing paths on buses, trains, roads, or bike lanes, and the seasonal rhythms of work and travel all create opportunities for brief, yet meaningful, connection. Who we encounter is often determined not just by where we are, but when.

And of course, many artists considered how technology has redefined what it means to be a neighbour. Over the past two centuries, technological advancements have transformed our world: from the invention of the telephone to the integration of the internet into nearly every aspect of daily life. Communication technologies have radically reshaped how we relate to one another. Proximity, time, interaction, and even identity have become fluid. Our connections can now span continents in seconds, yet often leave us questioning their depth and quality. These works invite us to reflect on how we experience one another (and ourselves) through current and emerging technologies, and how these tools continue to expand, disrupt, and complicate our understanding of what it means to be a neighbour, or to be neighbourly.

Thank you for sticking with me through this (admittedly lengthy) statement, which is perhaps less a conclusion than a reflection on the ideas and insights our artists have so generously shared. On behalf of everyone at Coles Art Market, I hope this exhibition has stirred thoughts, sparked questions, and offered space to reflect on what it truly means to be a neighbour, and to act neighbourly.

Neighbourly is not just a theme, it is also the result of a remarkable coming together. Artists from across Canada have been brought into conversation through creative expression, curiosity, and collaboration. In that sense, the exhibition itself becomes a kind of community: a shared moment of gathering across distances, where ideas, experiences, and perspectives are exchanged.

We hope you leave with a renewed sense of how deeply connected we are, and how those connections, when tended with thoughtfulness and kindness, can shape a better, more neighbourly world."

– Nathan Dunn

"What does it mean to be neighbourly? Is it a friendly wave across the street, a shared fence, or an unspoken understanding between strangers? This exhibition invites artists to explore the nuances of human connection— how we define, navigate, and shape our relationships with those around us.

From bustling cityscapes to quiet rural towns, from acts of kindness to moments of tension, Neighbourly examines the invisible threads that bind us together. Through diverse artistic expressions, we seek to uncover the ways in which community, proximity, and shared spaces influence our identities and experiences.

Whether through literal depictions of neighbourhood life or abstract interpretations of belonging, Neighbourly is a celebration of the connections—both big and small—that define our everyday lives.

"Dogtown" encapsulates the sense of community and belonging found in third spaces. For the youth pictured, the skate park is a home away from home, a place where they engage in a passion, evolve and grow amongst their peers, and let every learning and bonding experience shape their personal and collective identity. Skateboarding is woven into the fabric of California's culture. As it slowly infiltrates mainstream culture and is now set to be introduced as an official sport at the LA 2028 Olympic Games, the sport proves to be a legitimate means for youth from humble beginnings to find their voice, rise above their situation, and cement their legacy through passion, perseverance, fearlessness, creativity — attributes that also teach resilience in the face of their personal challenges. Above all, the mutual encouragement and community support displayed on the local rink are perfect examples of neighbourly traits.

"Pond & Ponder" can be described as the lyrical representation of a psychological environment inhabited by repetitive cycles of vulnerability and obsessive thinking. The audience’s neutral viewpoint becomes a tool in interpreting the elements that act like fragments of a bigger picture.

Memories have a subjective quality that allows the existence of different sides to a same story, as the interpretation of a same situation can vary considerably among people. Our five senses play a key role in our relationship with the world because they alter our perception and subsequently our recollection of events, thus creating several layers of meaning and possibilities to make sense of things. Their overlapping makes for a kaleidoscopic understanding of our collective consciousness.

By having access to a window on someone else’s thoughts, we are reminded, by means of comparison, of how important it is to differentiate concrete courses of events from our subjective perception of them as they unfold.

***

I explore in this work the role of memory and subjectivity in the way we make sense of personal experiences, as well as their impact on interpersonal relationships. I create psychological realms in which the audience is invited to project their own perception of events in order to offer a kaleidoscopic understanding of our collective consciousness.

Visual representations of dream-like settings meant to be experienced from a psychological aspect. The audience’s subjective viewpoint becomes a tool in interpreting the elements that act like fragments of a bigger picture.

Memories have a subjective quality that allows the existence of different sides to a same story, as the interpretation of a same situation can vary considerably among people. Our senses play a important role in our relationship with the external world because they alter our perception and subsequently our recollection of events. Eventually, our tendency to use personal experiences to the service of interpersonal interactions creates a contrast between what we think, what we say, and how our actions are perceived. These constitute as many layers of meaning and possibilities to make sense of things, and their overlap makes for a kaleidoscopic understanding of our collective consciousness.

By having access to a window on someone else’s thoughts, we are reminded, by means of comparison, to differentiate and detach concrete courses of events from our subjective perception of them as they unfold.

"Pond & Ponder" peut être décrit comme la représentation lyrique d’un cadre psychologique hanté par des cycles répétitifs de vulnérabilité et de pensées maladives. Le regard neutre de l’audience devient un outil dans l’interprétation des éléments comme les fragments d’une mosaïque plus large.

Les souvenirs ont une qualité subjective qui donne lieu à l’existence de plusieurs facettes d’une même histoire, alors que l’interprétation d’une même situation peut considérablement diverger d’une personne à l’autre. Nos cinq sens jouent un rôle crucial dans notre relation avec le monde, puisqu’ils altèrent notre perception et par conséquent notre version des faits, formant ainsi plusieurs niveaux et de possibilités sémantiques. Leur superposition construit alors une compréhension kaléidoscopique et globale de notre conscience collective.

Face à un mode de pensée qui nous est étranger, nous sommes amenés à considérer l’importance de différencier notre subjectivité de la réalité concrète au fur et à mesure qu’elle se déploie.

***

J'y explore le rôle que la mémoire et la subjectivité jouent dans la manière dont nous donnons un sens à nos expériences, ainsi que l’impact qu’elles ont sur nos relations interpersonnelles. Je crée des environnements psychologiques dans lesquels l’audience est invitée à projeter sa propre perception des événements, afin de permettre une compréhension kaléidoscopique de la notion de conscience collective.

Des représentations visuelles de cadres oniriques, que l’on approche d’un point de vue psychologique. La subjectivité de l’audience devient un outil dans l’interprétation des éléments comme fragments d’une mosaïque plus large.

Les souvenirs ont une qualité subjective qui donne lieu à l’existence de plusieurs facettes d’une même histoire, telles que l’interprétation d’une même situation peut diverger considérablement d’une personne à l’autre. Nos cinq sens jouent un rôle crucial dans notre relation avec le monde extérieur, puisqu’ils altèrent notre perception et par conséquent notre version des faits. À la longue, notre tendance à faire usage de nos expériences personnelles au service d’interactions interpersonnelles crée un contraste entre ce que l’on pense, ce que l’on dit, et la manière dont nos actions sont reçues. Ces derniers constituent tout autant de niveaux et de possibilités sémantiques, et leur superposition construit alors une compréhension globale et kaléidoscopique de notre conscience collective.

En mettant notre psyché en contraste avec un mode de pensée qui nous est étranger, nous sommes amenés à différencier et à détacher notre subjectivité de la réalité concrète au fur et à mesure qu’elle se déploie.

Evince explores the dichotomy between the process of revealing and concealing personal aspects of life. The process of revealing is both literalized throughout the materiality of these works and expressed through the conceptual underpinnings and subtleties. Evince speaks to the personal stories one chooses to share with others which may remain obscure. This exhibition is a meditation and introspection of the artists’ lives, which describes a portion of time captured through their experiences and to which we can all relate. Migration, cultural bereavement, memories and history forgotten and yet to be unveiled are themes and subjects addressed in Evince. 

Sometimes the stories we tell are related to feelings of dispossession, the experience of an uprooted person or group, or because of social change. These notions are emphasized through the shades of meaning found in everyday life along with the complexities of emotion and relationships. While these works are each driven by an individual perspective, one can identify with these experiences as not particular to one person.

This exhibition is spread amongst an array of mediums and platforms, acting as one more manifestation of the diversity of self-representation as a part of a whole. Evince works towards the collective goal of addressing individual human experiences and placing it within a continuum of omission and confession.

Evince explore les dichotomies entre le processus de révélation et de dissimulation lorsqu’il s’agit d’aspects intimes de la vie de chacun. Le processus de dévoilement est d’une part explicité à travers la matérialité de ces oeuvres, et d’autre part exprimé dans les détails et structures conceptuels. Evince aborde les vécus personnels que l’on choisit de partager mais qui peuvent alternativement demeurer occultés. Cette exposition est un exercice de méditation et d’introspection relatif à la vie des artistes, et décrit un laps de temps capturé par le biais d’expériences dans lesquelles nous pouvons tous nous reconnaître. L’émigration, le détachement culturel, les souvenirs, l’histoire effacée et prête à être réécrite, sont des thèmes adressés par Evince.

Parfois, les histoires que l’on raconte se rattachent à un sentiment de dépossession, de dépaysement ou de changement social affectant une ou plusieurs personnes. Ces notions sont mises en avant tant au travers des niveaux sémantiques existant dans le quotidien, qu’en relation avec les complexités émotionnelles et interpersonnelles. Alors que ces oeuvres sont nées de perspectives individuelles, elles nous offrent une possibilité de nous y reconnaître comme étant relativement impersonnelles.

Cette exposition s’établit sur un éventail de médias et plateformes, lesquelles réaffirment une fois de plus la diversité d’auto-représentation comme une partie d’un tout. Evince se donne pour objectif d’adresser les expériences personnelles de tout un chacun et les place au sein d’un continuum d’omission et de confession.

I chose to respond to Anika's photograph of her cousin, Yutaro, holding a​ ​fragment​ ​of​ ​ice.​ ​Various​ ​aspects​ ​attracted​ ​me​ ​to​ ​reinterpret​ ​it.

The background in the picture is out of focus and has a very linear horizontal characteristic to it ; I decided to recreate with an equally abstract environment that imitates the​ ​texture​ ​with​ ​visible​ ​brushstrokes. The colour palette, with its bright colours and contrasted hues, spoke to my usual personal practice. The different shades of orange created by the way the light hits the garment allowed for a play on light and shadow, a study of the characteristics of overlapping, notably how a transparent layer of orange reacts on backgrounds of different​ ​colour​ ​values.

The jacket of the little boy is very structural in its details - the multiplication of zippers, pockets and​ ​blocks​ ​of​ ​colour​ ​inspired​ ​me​ ​to​ ​adopt​ ​a​ ​blocky,​ ​geometric​ ​aesthetic​ ​in​ ​the​ ​overall​ ​concept.

Beyond the formal aspects, I approached the piece by adopting an internal viewpoint of the subject.​ ​From​ ​there​on,​ ​I​ ​decided​ ​to​ ​explore​ ​the​ ​theme​ ​of​ ​innocence​ ​“through​ ​the​ ​looking​ ​glass”. The eyes of Yutaro, partially veiled by the ice, therefore possess a partial and warped vision of what lays beyond the ice. I chose to illustrate the opposite notions that inhabit the photograph. As a result, innocence becomes curiosity through a figure mirroring that of the viewer. The structural lines that constitute the mannequin, similar to wiring or vectors, evoke the idea that what we see is simply what we choose to see, and everything is a construct of our own​ ​mind​ ​that​ ​we​ ​project​ ​onto​ ​the​ ​world​ ​that​ ​surrounds​ ​us.

My choice to incorporate a mannequin-like, inanimate figure stems from the idea that while Yutaro is an active witness of the world that surrounds him, the subject of his gaze can only sustain it without being able to reciprocate it. As the little boy manipulates objects with his hands and changes his facial expressions, the armless subject is powerless and devoid of distinct facial characteristics. The choice of a mannequin also reinforces the loss of innocence that comes with the curiosity, and​ ​especially​ ​a​ ​curiosity​ ​around​ ​the​ ​female​ ​figure​ ​that​ ​the​ ​little​ ​boy​ ​develops​ ​as​ ​he​ ​grows​ ​older. Finally, the real centerpiece that marks the connexion between Anika’s photograph and my painting is the fragment of ice in the center of both works. It acts as a lens, or “filter”, reminding the audience of its existence as a source of subjectivity that we’re not always aware of. It is ultimately a reminder to stay critical of what appears to us when we take a look “through the looking​ ​glass”.