Visual
o Erin Ball defies gravity
o Kory Parkin finds a platform for change
o QAC Exhibits RISE: For ALL Women and Girls: Rights. Equality. Empowerment.
Janet Jarrell, Executive Director janet@quinteartscouncil.org
Andrew Gray, Program Director drew@quinteartscouncil.org
Kim Lidstone, Bookkeeper qac@quinteartscouncil.org
Graphic Design: Drew Gray
The Quinte Arts Council is a not-forprofit, charitable organization, registration number 107869448 RR 0001. Published by: The Quinte Arts Council, P.O. Box 22113 Belleville, Ont. K8N 2Z5.
Material may be reprinted only with permission. Umbrella is available in digital format through Issuu. The information contained within is believed to be reliable, but accuracy cannot be guaranteed. We do not assume responsibility for any errors and/or omissions related to submitted content.
A Message from the Executive Director
Spring is a season of renewal, and at the Quinte Arts Council, we are embracing fresh beginnings and exciting new programs while celebrating the creative spirit that defines our arts community.
We are pleased to welcome Drew Gray as our full-time Program Director. Since 2019, Drew’s contributions as a graphic designer for Umbrella arts magazine have been invaluable, and we look forward to his leadership in shaping
the future of our programs.
We are also excited to welcome student interns Addison and Ramsay, who bring fresh perspectives, energy, and meaningful connections to the next generation of artists in our community.
This issue of Umbrella highlights remarkable artists and organizations making an impact. We feature Logan Somers, Greg Schatzmann, Angela Wiggins, Kory Parkin, Allison Lynn, Erin Ball, and
David Rendall, whose work continues to inspire. We also explore Theatre in the Wings, Tweed & Co, Quinte Needle Arts, and the artistry behind Tweed’s painted fire hydrants.
We celebrate QAC programs, including RISE — honouring women in the arts — our arts education initiatives supporting local artists in classrooms, and the 30th annual Arts Recognition Awards. Alongside these, we share the stories of Beth Milligan, Richard Hughes,
Spark Box Studio, and Emebet Belete. Additionally, we introduce the Quiet Room, a space dedicated to fostering inclusivity, creativity - a safe space to explore music.
Thank you for your continued support of the arts. Here’s to a progressive, inclusive, and creative season ahead!
Janet Jarrell Executive Director, QuinteArtsCouncil
Janet Jarrell, Executive Director
QAC programs are funded in part by:
John M. & Bernice
Cover: Erin Ball
Back: Leandra Earl (The Beaches) photo by Logan Somers
Quinte Arts Council
Message from the Chair + Contributors
QAC Welcomes New Program Director
QAC Celebrating RISE
Photography
Logan Somers
Music
The Quiet Room
Greg Schatzmann
Fine Arts
Angela Wiggins
Kory Parkin
Allison Lynn
Performing Arts
Erin Ball
Theatre
Tweed's Marble Arts
Theatre
Film
Terry Culbert
David Rendall
Literary
Sarah Taylor-Malo
Craft
Heritage
Tweed
A Message from the Chair
Dear Quinte Arts Council Members and Community,
As we welcome the warmth and renewal of Spring, we are filled with gratitude and optimism for the exciting season ahead. It is a time of growth, transformation, and fresh possibilities — qualities that resonate with our mission at the Quinte Arts Council.
This season offers us an opportunity to reflect on the accomplishments and creative spirit that continues to flourish within our community. It’s a time to celebrate the dedication of our artists, supporters, volunteers and the QAC staff who help cultivate a thriving arts ecosystem.
As Chair of the Board of Directors, I am incredibly proud of the impact we’ve made, and I’m inspired by the new QAC programming on the horizon (stay tuned for that!). With each new partnership and every collaborative effort, we are reminded of our shared commitment to creativity, innovation, and community. I look forward to the opportunities that lie ahead for new and ongoing connections.
Thank you for your unwavering support, and here's to a vibrant spring season for all!
Warmest regards,
Brit Johnston Chair of the Board of Directors
Contributors
Greg Teal
Andrew Gray
Kodie Trahan-Guay
Greg Ceci
Peter Paylor
Jennifer Shea
Ardith Racey
Janet Jarrell
Scott Williams
Allison Nichol Longtin
Brit Johnson
Welcome to the QAC!
The Quinte Arts Council welcomes Drew Gray to the team as our new Program Director!
A multidisciplinary artist with deep roots in Ontario’s creative community, Drew brings a wealth of experience and a passion for supporting artists. With a Fine Arts degree in Film Studies and a postgraduate diploma in Digital Production, Drew has spent his career exploring diverse artistic disciplines—including filmmaking, design, podcasting, and music.
Many of you may already know Drew as the graphic designer of QAC’s Umbrella magazine since 2019. Now, as Program Director, he is eager to expand his impact, working alongside local artists and organizations to develop and promote creative ventures that enrich the Quinte region.
Drew’s artistic journey began in documentary filmmaking with his brother Adam, creating films that have been featured on television and at international festivals. His career has since spanned live event video production, freelance graphic design, and even podcast production—collaborating with criminologists and law enforcement to shed light on unsolved cases. Locally, he has worked with esteemed institutions such as the Belleville Public Library, Quinte Ballet School, Quinte Film Alternative, and Belleville Downtown DocFest, as well as in a leadership role at the Empire Theatre from 2022 to 2025.
At his core, Drew considers himself a muse—someone who thrives on inspiring and empowering others in their creative pursuits. Whether you’re a theatre artist, musician, filmmaker, or craftsperson, Drew is here to help bring your vision to life.
Please join us in giving Drew a warm welcome! If you’d like to connect, don’t hesitate to reach out—he’s eager to collaborate and support Quinte’s vibrant arts community.
Meet Our Student Interns: Addison Gray & Ramsay Newman!
The Quinte Arts Council is excited to introduce our talented student interns, Addison Gray and Ramsay Newman!
Addison Gray (she/her) is a passionate artist in her senior year at Nicholson Catholic College. With a love for film, media production, and community engagement, Addison brings creativity and fresh perspectives to her work at QAC. She is eager to support local artists and arts initiatives while gaining hands-on experience in the arts and culture sector. Addison looks forward to continuing her artistic journey and contributing to the vibrant arts community in the Quinte region.
Ramsay Newman (he/they) while completing his grade twelve year at Nicholson Catholic College, he immerses himself in a wide range of artistic endeavours, including theatre, fine arts, photography, and media productions. Ramsay brings determination and curiosity to the QAC, and is passionate about engaging youth in the art community and promoting underrepresented and local artists. He is eager to expand his knowledge of the artistic field and its community members. Ramsay is excited to continue pursuing his passion for the arts in the Quinte region.
Please join us in welcoming Addison and Ramsay to the team! We’re excited to have them on board as they learn, grow, and help support the arts in Quinte.
Addison Gray
Andrew Gray
Ramsay Newman
Celebrating RISE at the QAC Cultural Hub
By Janet Jarrell Belleville
The Quinte Arts Cou-
ncil Cultural Hub and Gallery was full of creativity and inspiration this March as it hosted the 7th annual RISE exhibition. This event showcases the talents of local artists under the national theme "For ALL Women and Girls: Rights. Equality. Empowerment." The exhibition was a vibrant celebration of the unique perspectives and creative journeys of women and girls, reflecting their struggles, triumphs, and aspirations.
Each work in the display told a story, capturing the essence of the theme through various mediums such as painting, photography, and mixed media. Visitors to the gallery were treated to a diverse array of artworks that highlight the multifaceted experiences of women and girls.
Adding to the excitement, the Quinte area hosted numerous gatherings on March 8th in honour of International Women's Day. These events brought the community together to celebrate and support the rights, equality, and empowerment of women and girls. From panel discussions and workshops to performances and social gatherings, the day was filled with activities that highlighted the importance of gender equality and the contributions of women in various fields.
The Quinte Arts Council has provided a welcoming space for these artists to share their voices and visions. The RISE exhibition ran for the month of March.
Karen Buck-Mackintosh (Matriarch)
The group portrait depicts female, intergenerational relationships, figure-headed by the matriarch. Four generations are posed together on the 1960’s sofa with appointed positions and respective loyalties. Each figure is under painted in a hue to denote personality and a sense of individual, spiritual aura. A halo crowns the
rose-coloured, mother figure to signify her status. Skin tones are worked in paynes grey in respect to the great grandmother. The lack of realistic skin colour also represents the suppression of shared knowledge and wisdom between the figures of that era. Underlying wounds of sexual abuse, cancer, mental health and aging resurface with the experience of memories and the passage of each generation. The desire for individuality is suppressed by the need for refuge from vulnerability within the family group.
Karen Buck-MacKintosh,
Kelly Beaulieu (Sister Survivor)
I have been reflecting on family and the dynamics of abandonment and abuse. My sisters and I are survivors. I start a natural portrait based on a photo and then let the paint guide me into the subconscious. The results show the balance of being content in your own skin or fighting the negative self-talk. I deliberately share what I am uncomfortable with—my weight gain, my self unclothed, vulnerable. Trying to be a beacon for authentic love of my raw, unfiltered,
with no cosmetic enhancement. There is anger there. It is kept at bay by painting out the anger in broad strokes. There is the humility of being held honest with my artist community and the students I work with. They demand that I am as vulnerable as I ask them to be in the process.
Rhonda Nolan ( Altar to Apasia )
O Apasia how did that happen? How did you get forgotten? Who dared do that to you when you were the esteemed teacher of such a prized and historically known scholar, Plato. But where are you now? Wiped and scrubbed from history books. You and the many other forgotten women will now be unearthed, recognized and thanked. Yes we are deserving of this.
We have wonderful and worthy attributes that have been completely forgotten. We will reclaim them. Methodically and slowly we will move from a very battered and time-worn past to rise from the hourglass of time, and find our own voice. Women supporting women to nourish this planet.
I feel it is important to have this altar. Now is the appropriate time for all
women to be worshipped. This altar is a place that will hold space for reverence to all women. We are now reconstructing anew, and creating a strong unified threshold. Standing on the shoulders of our foremothers, we enter into our future. Listening and opening our girdered hearts to hear our own true voices. We will strengthen and redeem these lost women. Women supporting women.
Quinte
Rhonda Nolan, AltartoApasia
Kelly Beaulieu, SisterSurvivor
Angela Wiggins (Embraced, I Am Here)
My art shows bold colour and movement. I want everyone who views my work to feel joy and a sense of healing within their soul. I have always felt a need to heal those around me and my work enhances my ability to bring joy to those around me.
Embraced - The strawberry representing love surrounded by the traditional medicine wheel colours in the vine as it embraces the lost souls looking for roots, and an identity.
I Am Here - Standing as a proud indigenous woman in front of the traditional medicine wheel wearing a contemporary ribbon skirt with medicine wheel color ribbons. This piece is paying homage to so many indigenous women in a culture that does not claim them. I speak for many women who are lost and looking for a foundation to grow roots and grow strong!
Ruth McCurdy (Raised by a Community) I 'Capture Moments in Time' through my camera lens that can never be rec-
reated. I respect and honour the world I live in and am able to capture the most tender moments as a result and it shows up in my work.
Sarah Winn (Jackie)
Jackie Shane was a pioneer transgender performer and was a prominent jazz singer in the 1960s, Toronto.
Anne Risi (Reach, Unbound)
My work is rooted in themes of self-resilience, exploring femininity and the complexity of womanhood.
Ruth McCurdy, RaisedbyaCommunity
Sarah Winn, Jackie
Angela Wiggins, Embraced
Angela Wiggins, IAmHere
Each piece is a part of my personal journey, where I share my experience and I hope to create space for introspection, where the viewer can engage with their own feelings.
I often activate my canvas using the colour yellow, which symbolizes something deeply personal to me. It’s the foundation of my art; it wouldn’t exist without it. I then apply paint and drag it across the surface in order to create a raw, impressionistic feel.
I aspire to seamlessly blend fine art with craft by combining paint and textiles in a way that challenges traditional boundaries. Just as painting has been a "historically" male-dominated form of fine art, textiles have often been considered women's crafts, yet together, they can create unmatched textures and meaning. My approach is about bridging the divide between these two worlds while honouring both. Maybe that’s just my way of merging passion and breaking boundaries, just as I did studying electrical engineering.
The dummy - Makeshift, made of a bit of old wood, paper-mache and some imagination.
The boots - Old worn cowboy boots, painted and glittered.
The overalls - Whimsical Individual sketches done on fabric and sewn onto the piece. Inspired by a jacket sketched from photographs. And those days in class (eons ago) when we all doodled on our jeans.
Darlene Longo (Over All Blue)
Darlene Longo, OverAllBlue
Anne Risi, Reach
Anne Risi, Unbound
Lorraine Huebner (Invisible Woman)
This work explores the concept of invisibility - personally, societally and globally. Many marginalized individuals today are unseen, their struggles overlooked. Within laws, religion and politics women and girls are increasingly becoming more invisible.
This work was inspired by my friend and neighbour Shirley, after many discussions about this topic. Shirley has recently passed away.
Kathy Keenan (I AM HERE, I AM)
These three art pieces were executed from loose pencil drawings of draped models at Belleville Libraries’s life drawing sessions over the last few months. It was wonderful to jump in on this opportunity to hone my skills further. I believe I was successful in capturing some great emotions expressed by these women.
Tina Osborne (Rebirth: Hope in Chaos)
This year my creative processes are being drawn to more spiritual expressions of who the female energy is and can be.
View exhibit
Lorraine Huebner, InvisibleWoman
That moment
By Andrew Gray
Prince Edward County
One of the most exciting young talents in local live-events photography, Logan Somers, made a name for himself while studying Journalism at Loyalist College. Taking the initiative, he produced a short documentary on Picton’s Regent Theatre, impressing the venue’s GM so much that he landed a job at the venue as soon as the dust settled on his graduation mortarboard.
When he is not out galavanting on the concert circuit, Logan is stationed full time as the Regent’s Digital Media Producer and Programming Assistant. Among the many hats he wears, one of the most exciting is that of in-house concert photographer—a role he stepped into unexpectedly when last-minute coverage was needed for a show. Thrilled, Logan jumped at the chance, had a blast doing it, and quickly became one of the most sought-after photographers in the scene.
“I learned how to use a camera during gigs. Very nerve racking because I was being paid while learning, but it’s how I improved so quickly.”
Photography
Shooting live events is a reactive art— anything can happen on stage, and a photographer must always have a finger on the trigger. While preparation helps, adaptability is key. As Summers points out, “the truly great shots come from divine accidents.”
In the front-of-stage pits at Picton’s Base31 and Toronto’s History, a photographer must be quick, nimble, and always on high alert. Crowdsurfers need to be avoided, swinging mic stands dodged, and, most importantly, fleeting magical moments seized. Patience and persistence are what allow Somers to nail the perfect rock-star shot—the silhouetted guitarist shrouded in stage fog, the glint of light on a crashing cymbal, the sweat-drenched hair flip, or that
enigmatic instant when the spotlight catches a singer’s sunglasses just right.
Somers joined Stuart Roberts’ Kingston-based Photo Roadies group after (literally) bumping into him in the pit at a Sheepdogs concert. Roberts’ team of photographers covers live events across Ontario, and the connection has opened the door to several incredible opportunities.
One of Somers’ dream gigs came when he photographed the high-energy American rock band Underoath at History last year. The frenetic atmosphere is palpable in his images—you can almost feel the electricity surging from the stage as the crowd erupts and lead singer Dallas Taylor reaches the apex of a mind-melting scream.
“I always recommend picking a spot and staying there for a moment. Just wait and watch. When you move around a lot you risk missing the money shot.”
The Quiet Room - Opposites attract
By Greg Ceci
Born and raised in Belleville with a shared love of music, Andy Forgie and Kris Tischbein have unique musical journeys that, when combined, create a powerful and deeply moving live musical experience they call The Quiet Room. Like the confluence of two powerful rivers, their distinct paths have come together to form a single, calm, and rich flow of sound.
Forgie's journey dates back to shortly after four young lads from Liverpool appeared on the Ed Sullivan Show. In the 1970's, he was living the dream composing and recording for a record company but also later toured with The Monks, opened for Canadian icons April Wine, Goddo and Blue Rodeo and worked with Canadian studio legend Daniel Lanois. In the 80's, his band Photograph signed with Capitol Records and enjoyed national recognition breaking into the top ten. By the 1990s, Forgie shifted direction, focusing on children’s music with notable success, including two CDs, a community TV
children’s program, an appearance on the History Channel, and opening for Bob Newhart and Andre Philippe Gagnon. At the turn of the millennium, Forgie formed a Beatles tribute called All You Need Is Love and continues to tour with the act.
He says this about his childhood, “I was very lucky to grow up in a home where music was loved and encouraged. My parents had a wonderful record collection, and I would listen to them, on their hi-fi, for hours on end!”
Belleville
Tischbein has been writing and performing music for over thirty years and is driven by a desire to help refine the role of the bass guitar and how bassists are viewed.
He began studying accordion from ages six to thirteen, with his earliest musical memories stemming from watching The Lawrence Welk Show with his supportive parents. Tischbein later transitioned to bass, using the discipline of early lessons to teach himself the instrument. He's since put in the time playing with a variety of musicians and ridden a wave of solid support from his family particularly his understanding wife of thirty years.
Tischbein has also been featured in an award-winning documentary entitled Strings Of Inspiration, released two EPs of bass compositions entitled The String Theory and The Weave as well as a full-length album with his band The Zone. Kris has worked with Jake Clemons, Jerry Mercer, Emm Gryner, Adam
Werner, Carl Dixon and solo bass guru Michael Manring - a major influence, mentor and friend. Manring says, “Kris is a sensitive musician with deep skills and a big heart. His intelligence, dedication, and creativity enrich all the projects he undertakes and gives his music a unique beauty. I feel lucky to call him a friend."
Forgie and Tischbein initially met in 1989 but it wasn’t until many years later that their musical tributaries collided and the idea of The Quiet Room was born. The show consists of three sets: Tischbein opens with his solo bass compositions, Forgie follows with original songs of love lost and found, and they both perform a set of special, carefully chosen covers.
Forgie explains, “It’s all about touching the listener emotionally, Kris’ instrumental compositions take the audience wherever one is willing to go and the sky’s the limit...I love to move people, with a lyric, a story blended with melody, and hopefully reaching something deep inside.”
Attendees can expect a quiet, safe space to explore music they may have never heard before. With Forgie’s seasoned entertainment experience and Tischbein’s dedication to performance, the duo creates a memorable atmosphere of love and acceptance.
Tischbein adds, “I want people to forget about their day-to-day troubles, even for a little while, give in to the power of music, sit alone, sit quietly, or sit with friends and clap, but the idea is to leave your troubles at the door and escape from the bills that need to be paid, the troubles at work, the pain of loss and be with us and others in a safe place.”
Dive into the deep waters and let the current carry you with these two talented musicians by visiting their websites, following their social media pages, and experiencing The Quiet Room live and in person.
kristischbein.bandcamp.com andyforgie.com
Sunday Coffee House: radio the way it used to be
By Greg Ceci
Therewas a time when radio personalities, program directors and station managers had a tremendous influence on what their markets were exposed to. It wasn’t uncommon for a station to spark interest in an emerging band—or even launch a career. Iconic Canadian prog-rockers Rush are a fine example. Their big break happened
"Most folk music show hosts I’ve met tend to be musicians - I successfully bucked that trend.”
when deejay Donna Halper put their debut album into heavy rotation. Forty years later and 40 million units sold, they humbly credit Halper for launching it all. Greg Schatzmann is something of a throwback in today’s corporate radio landscape.
As the longtime host of Sunday Coffee House, a contemporary folk radio show, he has spent 32 years—and more than 1,500 episodes—giving North American folk artists the recognition they deserve, often providing airplay to musicians who might not have found exposure elsewhere.
Growing up in the 1970s in a middle-class household, Schatzmann was surrounded by music from an early age. His father was a multi-instrumentalist who sang in a choir, while his mother also sang and played piano. Despite this musical upbringing, he never felt compelled to become a musician himself. With a laugh, he admits, “I bombed out of piano lessons after a few years and couldn’t carry a tune if it had a handle on it. Most folk music show hosts I’ve met tend to be musicians—I successfully bucked that trend.”
Schatzmann grew up on 1970s Top 40 radio but soon expanded his musical palate, diving into bands like Supertramp, The Beatles, The Rolling Stones, Peter
Frampton, and Pink Floyd. As the new wave movement swept through the 1980s, he embraced artists like Tears for Fears. During his teenage years, his fascination with music deepened— not just as a listener but also in understanding the behind-the-scenes mechanics of radio.
At just 15, much to his parents’ surprise, he announced his intention to pursue a career in broadcasting. Though initially astonished, they fully supported him, and he later enrolled in the radio program at Loyalist College, where he found a pivotal mentor in Bryan Olney, head of the radio program. Reflecting on Olney’s impact, Schatzmann says, “He had a tremendous passion for radio and ability to guide young radio wannabees with professional guidance, honesty and a hearty sense of humour.”
Now the station manager at 91X (CJLX 91.3 FM) Belleville, Schatzmann also hosts Sunday Coffee House, a free-form
Belleville
folk music show that has aired weekly since shortly after he joined the station. Unlike tightly scripted programs, Sunday Coffee House unfolds organically, guided only by a selection of new releases. Much like the classic
“I started the show in 1993 with about 20 folk CD’s and a couple of vinyl records.”
radio shows of the past, Schatzmann carefully curates each episode, considering how songs flow together in terms of style, tempo, lyrical content, or theme. Some episodes revolve around a single concept—folk songs about trains, cars, or food, or special dates like International Women’s Day. Others feature a playful mix of quirky folk band names.
The show exclusively features contemporary folk artists, which means a diverse range of music including, singer-songwriter, acoustic, celtic, bluegrass, country-folk, roots, folk-rock, Americana and Canadiana. A key part of the format is Schatzmann’s engaging and informative free-form discussions about the music and the artists. Over the years, Sunday Coffee House has expanded to four additional markets—Haliburton, Cobourg, Huntsville, and Halifax—but Schatzmann still sees room for growth. “I started the show in 1993 with about 20 folk CD’s and a couple of vinyl records. Now the library has about 2000 CDs, and probably a similar number of digital tracks. Despite that, I know I’m just scratching the surface of everything that’s out there in the folk world.”
Having lived through the corporate takeover of radio, Schatzmann remains optimistic about the medium’s future, especially as major corporations begin selling stations back to regional broadcasters. “There is hope,” he says. “Some of these corporations are selling stations to smaller broadcast companies that understand how to make radio work. As long as stations continue to do what they’ve always done best—serving a local audience with engaging, relevant content—radio will survive and thrive.”
They say everything old is new again. Here’s hoping Schatzmann is right.
An artist’s journey through colour
By Scott Williams
Two inescapable the-
mes infuse the work of Angela Wiggins: the artist’s journey, and the bold use of colour. It’s no surprise that the two are interwoven, with Wiggins' evolving use of colour reflecting both her growth as an Indigenous artist and the deeper spiritual connection she seeks to convey through her art.
Wiggins’ journey started early. At age three, she remembers sitting with her grandmother, drawing flowers, and her grandmother challenging her father: “Are you seeing what your daughter is doing?” From that moment, art has always been with her. “It doesn’t matter where I am, or what I’m doing, everything is a canvas.” Part of that journey involved ten years as a tattoo artist, experience which she credits with developing the
clear lines in her current work. “All of these lines are freehand with a brush; that’s from years of hanging onto a 3-pound machine with two fingers.”
Votes of confidence from others – beginning with the one from her grandmother – have been key to Wiggins overcoming her innate shyness. “I didn’t even put on a name tag at my shows because I was petrified someone was going to say ‘that really sucks’.” However, others were quick to voice their belief in her talent. Joe Brown, a teacher from Tyendinaga, was an early fan, encouraging her to teach paint classes to the three clans of the Mohawk territory. Brandy Ringelmann, curator of These 4 Walls gallery in Trenton, was another early supporter, and encouraged Wiggins to focus her energies. “Your indigenous art is where it’s going to go. You seriously need to
focus on that.” Despite initially thinking Ringelmann’s assessment was “crazy,” she nonetheless listened to the advice and “hasn’t turned back since.”
Her use of colour has evolved over time. “Prior to my doing anything Indigenous I was always using Rembrandt colours – muted, old school, very soft – I was almost afraid to make a statement”. Now, bold colour is key. “It’s a representation of the spirit of the land, the spirit guides, the spirit animals. I look at a picture of a turtle and I don’t see a turtle, I see all of this beautiful spiritual energy, and I want that to jump off the canvas.”
Wiggins’ clear lines and vibrant colors have earned significant recognition, including a major vote of confidence from the International Ice Hockey Federation (IIHF). They selected her as one of four
MidMorningSnooze
Quinte West
Indigenous artists to paint paddles for participants in the 2025 World Junior Hockey Tournament. And while some questioned the choice of a paddle for a hockey tournament, Wiggins was keenly aware of where the young players were in their own life journey, and what a paddle could represent. “I thought: what a great way to represent Canada –something that has been used for thousands of years in so many ways.” And who’s going to keep that paddle? “Mom and Dad. Because that was the springboard that put their kid in the NHL.”
Like many artists, Wiggins has faced her own challenges. “Art saved my life. So many artists deal with so much in their life, and you put that on your canvas: that’s how you heal yourself.” From healing herself to healing others: that’s where Wiggins wants to take her career next, and she and her husband are working hard to make that happen. “My goal is to be a national artist. I want to use my art to not just heal someone’s soul, but to help financially heal communities. All of these shows, and all of these paddles, they’re the base so we can send supplies and money and assistance to communities that have issues.”
She sums up: “I’m here for a reason, and my art is the vehicle to help me help people. That’s my whole goal.”
Platform for change
By Scott Williams
At41, Kanyen’keha
artist Kory Parkin is a man whose time has truly arrived. His interest in art began at an early age and survived the turmoil of adolescence and high school. After a hiatus, his girlfriend (now his wife) encouraged him to return to painting, sparking a series of community-driven opportunities. He began creating logos
and imagery for local businesses, community groups, sports teams, and health initiatives. A pivotal moment came when BC-based Indigenous Proud asked Parkin to design a t-shirt for National Indigenous Peoples Day in 2022. To his surprise, the shirts were sold in Walmart stores nationwide. “The social media algorithms did their thing,” Parkin says, and from that moment on, his career took off.
In recent years Parkin has created artwork for superstar athletes like Toronto Argonaut Pinball Clemons and Blue Jay pitcher Alek Manoah, as well as teams from the OHL and even the NBA. Partnering with larger organizations has provided Parkin with a platform and an audience that he otherwise might not easily reach. “On Instagram the most likes I’ll get on a post is a couple of hundred,” he says, whereas when TSN posted some of his work, the number was 15,000 the last time he checked.
These collaborations have brought with them inevitable controversy—what Parkin refers to as the “keyboard warriors”— but he appreciates that the organizations he works with are genuinely trying to “get it right.” He knows his art can help raise their awareness as well. “Toronto Rock is one of the best,” he says. “I’ve worked with them for multiple years, and I’ve seen the growth. Every year, we ask: ‘How do we do even better?’” Raising awareness can also mean raising money: in one 2024 example, the combination of Parkin’s art and the Toronto Rock platform raised over $25,000 for charity.
One of the most significant platforms he’s had was provided by the International Ice Hockey Federation – the IIHF
Tyendinaga Mohawk Territory
– when they selected Parkin to design a jersey for the 2025 World Junior Hockey tournament held in Ottawa. He deeply connected with his Mohawk heritage and consulted with First Nations whose ancestral lands the tournament would take place on, taking the time to “listen, respect, and learn what’s important.”
The result is a thoughtful and powerful work that is reflective of multiple traditions. “Rather than just putting something together that’s eye-catching, this is my way of telling a story. When people ask, what’s the purpose of this or that image, rather than just saying ‘itlooks cool’, I
can say: ‘this is part of my creation story’. It allows me to start a conversation.”
Throughout his artistic career, Parkin has made his own luck, finding creative ways of creating opportunity. In his teen years Parkin’s friends formed a rock band, but since he didn’t play an instrument he created their designs and t-shirts instead. When he realized a professional sports career wasn’t in his future, he pivoted and partnered with some of the biggest names in the industry. When he heard the IIHF was looking for indigenous artists, instead of simply applying, he submitted a full mockup of a logo and jersey.
Despite the challenges of balancing a full-time job and fatherhood, he somehow always finds time to create. “My main focus is always family, so art comes between naps or at 2 or 3 in the morning while everybody else sleeps.
Beginning conversations, honouring and celebrating his culture, being a father and husband, creating opportunities for himself and others, raising awareness and raising money – Kory Parkin is indeed an artist whose time has come.
koryparkin.com
Fine Arts
Visual Artist Inspired by children, nature, and Kanien‛kehaka ancestry
By Jennifer Shea
Whenartist Allison
Lynn works on her craft, she often has company. Her in-home studio has a children’s art space and her three oldest (of four) children create alongside her. Art is a significant part of Allison’s life; not only in her own creative practice but also in her work as a Kindergarten teacher, where she fosters artistic expression and creativity in young learners at her community school.
In fact, it’s young people who provide much of Allison’s creative inspiration. “The wonder and the sense of discovery that the children have, and the creativity without boundaries. They’re not afraid to create and be judged. It’s so important to keep that creativity and sense of play, experimentation and discovery.”
Lynn is also creatively inspired by nature and her ancestry. “My father’s family comes from the Tyendinaga Mohawk Territory and my mother’s family comes from lineages in the CountyEmpire Loyalist farming families. I have deep roots in the area and those are really inspiring to me.”
Lynn learned to do printmaking in high school and continued to explore that creative outlet through her university courses at the Ontario College of Art and Design and York University’s Fine Arts Studio Program. When she started her family, it became more difficult to manage printmaking, given the space and materials required. She started incorporating printmaking on a smaller scale and layering in mixed media and textiles, then assembling smaller pieces into larger artworks.
Over a few months in 2023, Lynn created a One Dish, One Spoon wampum belt that is 20 feet wide and two-and-ahalf feet high. It’s on display at the Macaulay Museum in Picton. A wampum belt is used to document Indigenous treaties and covenants. The Dish with One Spoon Wampum Belt Covenant of 1701 was made between the Anishinaabe and Haudenosaunee peoples in what is currently Ontario and beyond.
When Lynn’s house was being gutted, she noticed the lathe and plaster from the old walls that was being thrown away. She gathered it up and cut it into tiny pieces. Since these pieces
reminded her of wampum beads, she planned this large-scale artwork with collage technique, adding pieces of old newspapers, textbooks, children’s books and other materials to decorate the lathe and plaster pieces. Assembled on such a large scale, it’s compelling.
Perusing her online catalogue, you’ll see a few artworks in colour but many in black and white. Lynn admits that she leans toward black and white. “I grav-
Tyendinaga
Untitled(thepartsweleftbehind)
itate towards the black and white, but I’ve been working with dying textiles and fibers, again with that playfulness and experimentation to see what happens when I mix one thing with another; also using natural dyes and different mordants – soaking different types of fibers in iron oxide, copper, something like that. I’m playing with colour more.”
Lynn’s artwork has been generating positive feedback, including from older members of her Mohawk community. She’s also had positive responses from the educational community. “I’ve been working with the Algonquin and Lakeshore Catholic District School Board with some of their students and teachers from Indigenous courses (literature and art making) as well as their students who identify as Indigenous. They’ve been coming into the museum to see the work and I’ve been able to come in and talk about it.”
While Lynn enjoys sharing her Indigenous artwork with others, she also continues to learn about her Kanien‛kehaka culture and language. She is Chairperson of the Board of Directors at the
Woodland Cultural Centre, which serves to preserve, promote and strengthen Indigenous languages, culture, art and history in the Great Lakes region. The Centre’s Indigenous art show will
be celebrating its 50th anniversary soon and Lynn hopes to have her works on display for that event.
allisonlynn.ca QAC Profile
SacredMedecinesseries
Defying Gravity: Making Circus Arts Inclusive and Accessible
By Janet Jarrell
Belleville/Kingston
ErinBall discovered
circus art in 2008 at a buskers festival, where ze was captivated by partner acrobatics. Ball signed up at the Toronto School of Circus Arts and later explored aerial arts. Ze spent the next few years dedicated to training, following a discipline meant for non-Disabled bodies, not knowing about zir own neurodivergence, which was later diagnosed as AuDHD.
In 2014, Ball became a double below-knee amputee. Defying expectations, Ball kept pursuing zir passion. The transition was tough, both physically and because there were hardly any visibly disabled performers in circus arts. “I was both unlearning internalized ableism and discovering how deeply ableism is ingrained in circus arts,” Ball shared.
With support from the disability activism community, Ball faced zir internalized biases and learned to embrace zir body. Over time, Ball teamed up with disabled artists whose experiences didn’t fit the usual circus norms, creating inclusive training methods. Ze realized that marginalized communities have always been part of circus arts but are often excluded, so ze made it a mission to create opportunities for them.
As a double amputee, Ball had to rethink circus training, moving from rigid skill-based instruction to a strengthbased, individualized approach - ways “that are unique to each body.”
Understanding the power of visibility, Ball proudly showcases zir body on stage while making sure audiences have access. Ball doesn’t believe ze has to "adapt" the performances. Instead, sees the work as exploring zir body’s unique
strengths. Ze uses mobility devices and prosthetics in zir acts, like specialized legs that make zir 7.5 feet tall. “Being suspended over an unsuspecting audience that had no idea what was coming. 40 feet in the air, I removed legs that appeared to be my (former) flesh legs…there were loud gasps from below.”
Now an internationally recognized performer and instructor, Ball works with zir partner, Maxime Beauregard, another disabled circus artist. Together, they started InterComplementary Journeys, focusing on slow touring instead of the usual industry hustle.
The main challenge Ball faces isn’t zir body but systemic barriers. Accessibility is often an afterthought, stereotypes linger, and ableist assumptions create obstacles. Instead of seeing these as individual problems, ze works with people who have lived experience to find collective solutions. Ball references the term ‘Nothing About Us Without Us’ - “I think working with people with lived experience is the only way to do this work. We can’t ever know someone else’s lived experience, we would just be guessing, often unsuccessfully,” Ball said.
Bryce Murdoch
Community support is key to zir process. Ball and Beauregard use an access rider—a living document outlining their needs—and share it with other disabled
artists. Ball also pushes for access notes, pre-submitted questions, and ongoing check-ins, recognizing that needs change.
Beyond performing, Ball and Beauregard have created international courses for circus and movement coaches, tackling ableism in the arts. Their training helps unlearn biases and promote inclusivity.
Ball believes true inclusion starts with hiring disabled consultants. Ze encourages arts organizations to learn about Disability Justice, and to embrace concepts like “Crip Time, coined by Alison Kafer,” which challenges time structures that ignore disabled realities.
Ze advocates for marginalized voices in leadership, standardized access notes, and integrating creative accessibility—making sure access isn’t an afterthought but a core part of artistic projects. Ze refuses to work with organizations that neglect access, using zir privilege to set a standard for accountability. “I don't pretend to know it all, this is a life-long learning and unlearning journey. I make mistakes and this is part of the process. I strive to remain accountable and ask before
Maxime Beauregard,
photo by Shannon Smith, Soulnnection
Chris Lagesten
offering an apology and I strive to make reparations when needed. I try to model various forms of access and accountability.”
One of zir proudest projects is InterComplementary Elements, a queer, disabled love story co-created with Beauregard. Developed with extensive input from marginalized communities, it explores creative accessibility in innovative ways. As audience member Laura Chaignon put it: "This work is proof that when accessibility is the focus, and not an afterthought, magic happens."
Ball envisions a future where disabled artists are celebrated, harmful disability perceptions are dismantled, and access needs are respected. Zir work isn’t just about representation—it’s about transformation, making sure access and inclusion are woven into the fabric of the arts from start to finish.
Learn more about Disability Justice Sinsinvalid.org
Performing
The Marble Arts Centre: All Ramped Up
By Ardith Racey
The Marble Arts Cen-
tre (MAC), located in Actinolite just north of Tweed, is now proud to be not only 100% accessible but also an upscale venue for every genre of arts and culture! Its stunning new atrium adds space, warmth, and light to the existing white marble walls of the former church, creating a vibrant lobby, meeting space, and art gallery. “From a show perspective, functionality has improved 1000%,” says Tim Porter, Co-Executive and Artistic Director of Tweed & Company Theatre. “It’s always been a pillar of the company that productions are affordable and accessible. And the atrium changes how the venue can be used.”
The venue’s transformation took three years of hard work, but now, as Porter says, “It looks like it did in my brain.” The new atrium, the heart of the venue, features a semi-vaulted ceiling, expansive windows, and white oak flooring (from Gaylord Hardwood Flooring). It also includes upgraded dressing rooms, redesigned rehearsal and set spaces, updated auditorium features, and accessible entrances—stylish yet practical additions. The auditorium itself has also been improved, with a larger stage, better sight lines, upgraded lighting and sound, and wheelchair seating at both the front and back.
The original marble church, built in 1864, has a history of resilience. It was destroyed by a fire in 1889 and rebuilt from stones that were hewn and quarried nearby. The Tweed and Area Arts Council purchased the building in 2008, and by 2010, it hosted its first season with a retrofitted kitchen, stage, and 120 cushioned seats. The venue faced challenges during COVID and was further damaged by a tornado in 2022, which affected the roof and exterior walls.
Since then, it has been re-retrofitted with a new roof and rafters, repaired plaster, new insulation, new flooring, and a state-of the-art heating system. The stained glass windows are original, as are the refinished finials along the top edge of the atrium, which connect past with present. Incorporating and balancing the original marble stones and stained glass of the church with modern lines and materials has resulted in a truly striking space that is inviting and accessible for all.
Once a local arts venue supported by community donations and volunteers, the church has now become an award-winning space. In 2010, the
Tweed
MAC hosted just one major show, but this year, they are planning four largescale, professional musicals (several of which will also be staged at the Village Playhouse in Bancroft) alongside many other one-night concerts, comedy shows, kids’ camps, and private events. The atrium will also serve as a public art gallery with rotating exhibits, and the theatre group’s offices are now on site.
Construction for the recent additions and renovations started in 2023 with “90% of labour and materials coming from Hastings County.” The upgrades were made possible through generous donations from local individuals and businesses, as well as funding from the Canada Cultural Spaces Fund, the Rural Economic Development program, and the Parrott Foundation. Special thanks also go to the Board of Directors, over 100 volunteers, and seasonal artists and staff. The MAC has now become a cultural hub for the community, a welcoming venue that will increase tourism and economic development—a new heart space for the area’s arts, which is vital for community and culture.
Emily Mewett, Co-Executive and Managing Director, says that “the final product is even more beautiful than I imagined, but it took intense dreaming, a lot of work, and a ton of determination.” Porter agrees: “We knew that the only way our productions could survive and thrive was with significant investment in this space. It really is a dream come true.”
Mayor Don DeGenova calls the newly renovated space “breathtaking.”
“Hastings County and the Municipality of Tweed deeply appreciate Tweed & Company’s significant investments, which have helped cultivate a thriving and vibrant theatrical arts community.”
Porter is excited about the upcoming season and next steps, which include landscaping, an outdoor licensed patio, new signage, and improved accessibility and inclusivity. Future considerations include described audio for musical productions, as well as a hearing loop that allows hearing aids to be patched into the sound board, and an ASL interpreter for single events, all of which will serve to draw people from all over the province.
It’s no surprise that the MAC was recently recognized as one of Ontario’s ‘Top 100 Festivals and Events’ for the fourth consecutive year, and that Tim Porter was presented with King Charles III’s Coronation Medal for his continued work with Tweed & Company Theatre.
The Marble Arts Centre is ‘all ramped up’ for an exciting production year. Expect a few more marble milestones!
marbleartscentre.ca
QAC Profile
It began in early 2020
with the National Theatre Company’s devised production of Jane Eyre under the direction of Sally Cookson. A devised production begins without a script. The entire company goes into a room and makes one up as they go along. “I demand the whole room take collective responsibility for how we interpret the book,” Cookson said of JaneEyre
“It’s about finding a physical and verbal language yourself as a company,” says Madeleine Worrall, who played Jane.
“You end up with this piece that’s kind of created from the ground up,” says Felix Hayes, who played Rochester. “We’ve kind of deconstructed and then rebuilt as a company. We have this sort of thing that’s built by everyone in the room, which is magic. You have ownership of even a scene you’re not in because you feel like you’ve been a part of the process of creating it.”
Something big
By Peter Paylor
Inspired by the process, theatre director Ian Feltham began looking for a book to adapt for the stage locally. It had to be in the public domain. Something big. Something like MobyDick. Why not MobyDick? Feltham approached River & Main Theatre Company at Theatre in The Wings and the project was launched. And then came the lockdowns. It was scheduled and rescheduled and rescheduled until all the momentum was lost.
Then came the Theatre in The Wings Canadian National 10-Minute Play Festival this past summer and Feltham was inspired to revisit the plan. The festival of seven 10-minute plays gave him the inspiration to bring seven writers together to create a stage adaptation of the book in seven 10-minute parts with only five actors. Along with Steve Billinger, Adri Boodoosingh, Marc Coyle, Leondra King, Dani Marks, and Beth Milligan, I was excited to be part of that group. The Nantucket Seven includes Steve Billinger, Adri Boodoosingh, Marc Coyle, Leondra King, Dani Marks, Beth Milligan and Peter Paylor.
Belleville
“It’s great that we’ve gone beyond just telling the story,” says Marks. “We’ve created something entertaining. The audience will really come to care about these characters. A lot. That’s exciting.”
“I didn’t know anything about the story going in,” says Billinger. “I hadn’t read the book or seen any of the films. Now I’m so excited about being part of this group. I’m so grateful for the opportunity. I had no idea how rich and deep this book is. I love that we each got to tell the story in our own way. I knew I had to give a voice to the whale as a mother.”
The script will continue to evolve once it gets put into the hands of the actors. Like Cookson’s production of Jane Eyre, Feltham will invite everyone in the room to have a voice and take ownership.
“There’s something special about bringing a community into a room together,” says Lisa Spence who is pro -
ducing the play. “There’s something special about bringing such a big story to such a small stage. Especially in a small community. I think we’re creating something that will make Belleville proud.”
Moby Dick: an adaptation of the novel byHermanMelville is scheduled to take the stage at Theatre in The Wings in the Spring of 2026. There’s still time to get involved.
theatreinthewings.ca
QAC Profile
Illustrations by Rockwell Kent
Terry Culbert's creative journey through photography, film, news, radio, Saskatario and whimsical fine art
By Andrew Gray
When the BealART
Secondary Art School in London accepted a passionate young Terry Culbert many years ago the art life of an extraordinary renaissance man began to take form.
From this four-year program, Culbert cut his own path through numerous careers ranging from photography, cinematography, radio broadcasting, and painting. He has authored and illustrated two fine books, and continues his journey through unknown realms of creativity.
Culbert’s ancestral line immigrated from Ballymackey, Tipperary, Ireland and purchased land in Biddulph Township in 1840 a few years before the infamous Catholic family known as “The Black Donnellys” arrived (also from Tipperary).
“From what I was told, our family got along well with the Donnelly family.” While acknowledging that the notoriously maligned family were surely no angels, Culbert feels that they incurred more blame than they likely deserved.
“Without doubt, there was quite a lot of discrimination against the Donnellys. I find it quite disturbing that the vigilante group that murdered six members of the Donnelly family was led by the local Catholic priest.” Culbert’s ties to Lucan and Donnelly family lore are chronicled in the second book, Lucan,Homeofthe Donnellys (2005).
At 16, Culbert acquired his first professional camera and was hired by The Exeter Times Advocate and The London Free Press to shoot stills of accidents, fires, parades and other community events
in the area around his hometown of Lucan, Ontario. This was the first stretch of a long road in photography and journalism.
Prince Edward County
Film
An early highlight: In 1958, Johnny Cash played the Lucan Arena and Culbert snapped a real beauty of the legendary country singer on stage. When Johnny returned to play in Lucan a couple of years later, Culbert handed Cash’s bodyguard the 16”x20” he’d captured and requested a signing.
“He took it to Johnny and returned a few moments later saying “Mr. Cash wants to see you son”. What a thrill it was to meet Johnny Cash in person and not only did he sign the photo but he hired me to shoot two of his upcoming concerts.”
Working as a newsreel cameraman in 1969, Culbert and reporter John Macdonald took an assignment to cover a student demonstration on the Blue Water Bridge which connected Sarnia to Port Huron, Michigan. It was a massive protest of the US nuclear tests in the Aleutian Islands.
“As students sat and sang protest songs, a car from the US decided not to stop, driving into the crowd of students. Nobody was hurt, but it was one of the scariest moments in my career. Because of that photo footage I was honoured with receiving the very first Roy Tash Cameraman of the year Award.”
Prestigious award in hand, Culbert left London and within a couple of years he was hired by the CBC in Toronto. In 1978, CBC saw fit to strap Culbert to the hood of a taxi to obtain footage
cruising through town for a production entitled Saskatario. “I have to say that the excitement of the shoot, the assignment, overpowered any safety concerns.”
Never deterred by a little bit of danger, Culbert met further challenges for Conlon’s Ontario. Once he went 1800 feet below Lake Huron in the Goderich Salt Mine; another time he had to climb to the top of the CN Tower, “secured by a rope lifeline as the tower swayed in the wind.” Undaunted, time and again Culbert stepped up and seized the opportunity to excel in his craft.
Culbert’s first book, Country Roads (1995) delves into some of his Global adventures. Working in the fast-paced news department of Global TV in Ottawa was another shift for Culbert, but it wasn’t exactly his thing. As exciting as it was tedious, Culbert found himself in scrums day in and day out and yearning for a creative outlet. After only 50 weeks he returned to Global Toronto to work as cameraman-producer for a segment called Bramah’s Ontario. This was a refreshing change from the news.
“My last eight years with Global TV were spent as Global’s first cameraman/reporter. I was self-assigning, travelling anywhere in Ontario doing positive lifestyle stories. That aspect of television work was by far my most enjoyable experience.” Operating heavy cameras all day can be brutal. Eventually, physical stress became a major problem. By age 60, Culbert had to have a rotator cuff operation and, in his words, he was “taken out to pasture”.
Suddenly finding himself with free time, Culbert began volunteering with “Island Radio” a small local station on Amherst Island. Culbert had fun as the Friday morning DJ, covering community events and helped fulfill a vital role in the community. After relocating to Prince Edward County, he continued volunteering in local radio on Friday mornings, this time at 99.3 County FM.
In retirement Culbert has refocused on painting. The body of work he has created is truly incredible. Often described as whimsical, Culbert’s representational compositions always feature vibrant colour and charm. He and his wife Barbara Hogenauer, herself a well-established abstract artist, opened an inhouse studio-gallery over twenty years ago on Amherst Island where they continue painting and showing. “Even though our styles are very different, we have always enjoyed working together and appreciate both of our different directions in painting.”
Culbert describes his approach to painting as detailed, precise and orderly, while Barb’s style is more loose and free. “Paint often spatters everywhere. It’s a good thing that we both have a well-de-
Cliff Dwellers
veloped sense of humour.” For inspiration, they often take their passion for sketching and painting on the road in their Roadtrek camper van which they call “Painted Lady”.
An unexpected and fruitful collaboration emerged one day when Barb was frustrated with a piece she was working on. She had a highly textured canvas that she was ready to give up on and Culbert joked that she should let him add one of his whimsical characters.
“Surprisingly, we both liked the outcome and decided to run with that idea. Two artists working on the same canvas needed a name – thus Hogbert came about, derived from our surnames Hogenauer and Culbert. The Hogbert paintings have been very successful and enjoyable for us to work on together.”
terryculbert.ca/books countystudio.ca
David Rendall is a
Picton-based interdisciplinary artist. His current project, Today is a Gift, is a hybrid documentary blending film techniques, blurring the lines between fact and fiction. His award-winning film Triage, a short realist drama, shot in Prince Edward County, has been presented internationally at 19 film festivals and counting, including the Ottawa Canadian Film Festival (OCAN) and Toronto Shorts International Film Festival.
Rendall works across artistic mediums, wielding the tools that best serve each
Stories of truth
By Allison Nichol Longtin
project. “My creative process is an extension of my way of thinking…of dialoguing with images.” His work exists in the space between an imagined reality and what’s actually happening in the world. He seeks to “tell stories of truth through a prism of something that’s fantastical.”
Set against the backdrop of the COVID -19 pandemic, Triage is an allegory that explores grief, loss, and the fragility of life. The film’s mounting sense of urgency is gripping, relentless, and parallels the intense uncertainty that many of us experienced in the pandemic.
The film gives the audience permission to feel their grief, collectively.
Filmed almost entirely within the confined space of a vehicle, Triage calls to mind the confined spaces many of us were relegated to during lockdowns. The contrast between the close quarters of the van and the expansive, rolling fields and open County roads just beyond its windows, creates a heightened sense of claustrophobia.
Triage was “developed and written in the pandemic and made as the [pan-
Prince Edward County
Shooting Triage
Hannah Forest Briand in Triage David Rendall, photo by Tess Gerard
demic] restrictions were being lifted, so there was a kind of dilating into a feeling of more open space,” reflects Rendall. Shot entirely in natural light, by an onset crew of five, using a handheld camera, the making of Triage was intimate and stripped-down. Rendall recalls the joyful experience of returning to collaborative art-making.
A through line between Triage and his latest project, TodayisaGift, is Rendall’s exploration of themes of grief and loss and their seemingly unlikely counterparts, hope and joy.
Themes of grief and loss continue in Today is a Gift, though this time, David shifts from a collective lens to a deeply personal one.
Today is a Gift that delves into intergenerational trauma and Rendall shifts from a collective lens to a deeply personal one. In it, he weaves together recordings from interviews with his baba (grandmother), Sally —his close confidante and a strong and resilient Holocaust survivor from Romania—with historical footage, family photos, and
analogue charcoal animations. Over a period of several years, Rendall recorded candid conversations with his grandmother, a captivating storyteller, who passed away in June 2019.
A month later, in July 2019, Rendall received a grant from the Ontario Arts Council to make the film and further investigate how stories are passed down through generations.
Rendall acknowledges that the process of making TodayisaGift is one of healing and meaning-making, “with Triage I needed to explore grief and loss fictionally, before I could explore it within my own history.” Ultimately, Today is a Gift is a commemorative portrait of grief, and a story of hope.
Instagram
David and Sally, 2018
Film
Sally in Montreal, 1950s
"I
was moved by the anguish and honesty in Sarah’s story. So many people experience what she has gone through and continues to navigate. Her ability to include the humorous side succeeds in making it real. It’s like talking it out with an old friend. She created an atmosphere of comfort and support. I hope she is compelled to write more.”
This is just one of the five-star reviews that Belleville-based Sarah Taylor-Malo has received for her debut book, Growing Pains—an impressive achievement for a first-time writer.
“I’ve been very introspective, always trying to put the pieces together for myself, so writing just came naturally to me as a tool for that,” says Taylor-Malo. “I’ve always read those kinds of books as well – memoirs, non-fiction. I love reading people’s stories. I think there’s a lot of relatability in that.”
GrowingPains
By Jennifer Shea
In her 20s, Taylor-Malo put a lot of pressure on herself to achieve certain goals. She had a list of accomplishments she wanted to experience before turning 30. At the same time, Taylor-Malo had met her love match at age 24, but he was from another country. After years of a long-distance relationship, they faced immigration challenges to get him to Canada. She was also trying to figure out what to do professionally. These issues took a toll on her mental health and Taylor-Malo was hospitalized with anxiety and depression.
“I was really struggling with it,” she admits. “I ended up seeing a life coach and a therapist, working on meditation and journaling. There was a tipping point that I talked about (in the book) where what I was dealing with at the moment – everything I hadn’t made peace with coming back up at the same time and manifesting into
“A lot of times, I felt self-conscious to put myself out there in any way. To have positive feedback; to be able to meet people at book signings and events, having those conversations, I find so meaningful.”
Belleville
a really brutal anxiety disorder and a time of dark depression that was difficult to get past.”
Taylor-Malo felt it was important to share her story. “I wanted to talk about that because I think a lot of people probably go through the same thing.”
In Growing Pains, particularly in the section titled Readjust, she explores how she worked through her mental health challenges. She shares the tools she used to make sense of the things that were causing so much turmoil in her life and make peace with her situation.
Now in her early 30s, Taylor-Malo has come full circle—she’s married to her love, who is now in Canada, completed a university bachelor’s degree and published her first book.
“A lot of times, I felt self-conscious to put myself out there in any way. To have positive feedback; to be able to meet people at book signings and events, having those conversations, I find so meaningful.”
“It definitely feels good and it feels like there’s some little piece of me left behind, a bit of a legacy.”
Taylor-Malo is already working on a second book, which she describes as a continuation but with a new perspective. “With Growing Pains, it was very much writing in hindsight. Now, I’m writing in the now. That’s a little different. I hope to finish it in the next year.”
Growing Pains is available at the Belleville Public Library, Chapters in Belleville, Indigo in Kingston, and online through Amazon and Indigo.
sarahtaylormalobooks.com
QAC Profile
Stitched into the heart of Quinte
By Kodie Trahan-Guay
Belleville
With
the rise of fast
fashion, many people have lost touch with how their clothes are made and the intricate craftsmanship behind embroidery that beautifies those garments.
The Quinte Needlearts Guild, founded in 1990, is a not-for-profit organization with a purpose of encouraging and promoting the art of needlework. More than just a place to stitch, the Guild serves as a hub for community connection, offers a space to share their knowledge and welcomes everyone from complete beginners to seasoned stitchers. Through workshops and lessons, members learn new and innovative techniques—not
just for stitching but for related textile arts as well. By bringing people together, the Guild fosters a shared passion for embroidery while striving for higher standards of design and craftsmanship.
Allie Kirby, a member of the Quinte Needlearts Guild, discovered the group online and joined. A self-proclaimed “out-of-the-box” crafter, Kirby enjoys putting her own spin on traditional techniques. While some lessons have served as a refresher, she’s also learned entirely new skills. One of the Guild’s outreach efforts, public stitching events, has been a highlight for her.
“We did stitch in public on Saturdays at Trenton Library and Belleville Library. I was at Trenton, and we had quite a few interested people. We had fun. One of our girls is teaching at the Trenton Library for the month and then she's got 20 girls. So she's teaching embroidery.”
While the Guild welcomes members of all ages, most are retirees or individuals with grown children as they have more free time to devote to the craft.
Sharon Craven, originally from Mississauga, found her way to the Guild after moving to the Quinte region. A chance introduction at a local sewing group led her to join Quinte Needlearts Guild. She loved meeting other artistic people who wanted to get together to create and learn. She says that they’ve taught her things she never would have thought to try on her own.
“You all have that common bond. It was to meet other people and just get out and it's fun. I've met so many lovely people and we learn because this is a teaching guild, and I've learned so much.”
Craven has even passed her love of sewing to the next generation, teaching her granddaughters. One of them took to it “like lightning.” She’s open to teaching more classes, particularly in schools, as she’s seen firsthand how eager children are to learn. Keeping the craft alive for future generations is something she’s passionate about.
The Quinte Needlearts Guild is committed to preserving embroidery on a local level, with support from the Embroiderers’ Association of Canada (EAC/ACB).
The EAC/ACB preserves traditional embroidery techniques and promotes new embroidery challenges through education and networking. They have an education team who help students to gain the skills to execute more complicated stitches and designs.
“Additionally an annual Seminar is held in various locations across the country with classes taught by teachers from around the world plus vendors who sell the materials that are increasingly becoming difficult to find,” explains EAC/ ACB Secretary Sandra Baker. “We also have an online presence through our website and Facebook that promotes the values of the organization.”
The EAC/ACB hopes to see embroidery recognized as a true art form and exhibited more frequently in cultural institutions. Embroidery is both an art and a trade, passed down through generations. Beyond its aesthetic value, it offers practical benefits, including improving fine motor skills in children.
“Families these days are busy and more emphasis is being placed on sports and the performing arts (dance and music) than on other creative arts. Children are generally not encouraged to work with their hands. This is evident in the fact that enrolment in trade schools is declining to the point where there are not enough young people coming into
the trades to replace the tradespeople who are retiring. Additionally, the loss of home economic programs in the schools and the decline of textile arts programs in the 70s and 80s created a gap in young people having access to this knowledge,” says Baker.
Preserving the art of embroidery will require dedication from skilled artisans and support from the wider community. If you’re curious to learn, consider attending a Quinte Needlearts Guild meeting—whether to repair and beautify your clothing or simply to try your hand at a craft that has stood the test of time. The skills you gain will serve you for years to come. Facebook QAC Profile
A Village Tradition: The Art on Fire Hydrants
For more than 40 ye-
ars, a charming tradition has brought colour and creativity to the streets of the village of Tweed—hand-painted fire hydrants. It all started when Canada World Youth hosted a Pakistan-Ontario student exchange program. Some of those students stayed in Tweed and before leaving, they came up with a plan to leave a mark. What began as a small community project has grown into a beloved artistic legacy, showcasing the talents of local artists and turning everyday infrastructure into public art.
By QAC Team
The fire hydrant art project began in the early 1980s as an initiative to brighten up the village and engage local artists. Over the years, dozens of hydrants have been transformed into whimsical characters, historical figures, and abstract designs, making each one a unique piece of outdoor gallery art.
One of the standout artists involved in this tradition is Hali Letwin, whose work has captured the community’s imagination with vibrant colours and intricate details. Letwin’s hydrants often tell stories, whether through depictions of local history, nature, or playful reinterpretations of well-known themes. Her attention to detail and creative vision have made her contributions a cherished part of the landscape.
“The hydrant painting in Tweed has been a tradition for over 40 years, and it draws people into our community from all over. I recently went to Newfoundland and when I told a local I was from Tweed, he said “oh! That’s where they have those painted hydrants!!”
Other notable artists have also left their mark on the village through this project. From depictions of wildlife and folklore to modern interpretations of cultural icons, each hydrant reflects the diverse
artistic voices in the community. Artists such as Tom MacGregor, Lisa Fenn, and Jordan Willis have contributed brightly painted fire hydrants, each adding a new layer to the tradition.
Beyond their visual appeal, the painted hydrants serve as a symbol of community spirit and collaboration. Every few years, local artists volunteer to refresh the designs, ensuring that the tradition continues to thrive. The project not only beautifies the village but also sparks conversations, inspires new artists, and fosters a sense of pride among residents.
Tweed
Mayor Don Degenova is delighted with the whimsicality and welcoming spirit of the city’s hand-painted decor. “The popularity of these vibrant designs is evident, with our website’s fire hydrant page receiving 28,000 hits. Among these treasures, my personal favorite is the Hawkins Cheezies hydrant, created to celebrate the brand’s 75th anniversary—a fitting tribute to a beloved snack that got its start right here in Tweed.”
Visitors and locals alike delight in strolling through the streets, discovering new hydrants and revisiting old favorites. Some hydrants have even become landmarks, with people giving directions based on their designs—"Turn left at the Elvis Presley hydrant" or "You’ll find the Tweed Heritage Centre near the hydrant painted like a train."
As the tradition moves forward, there is always room for new ideas and fresh artistic expressions. The town has even
created a map of the hydrants. Plan a trip to Tweed and head out on a painted fire hydrant hunt! Whether celebrating local heritage, seasonal themes, or pure flights of imagination, the fire hydrant art project remains a testament to the enduring power of public art in bringing people together. Thanks to artists like Hali Letwin and many others, the village streets continue to be a living, breathing canvas—one hydrant at a time.
The Painted Fire Hydrant Tour
TheJacksonNashMysteries: A quirky mystery series
By Greg Teal
Belleville Playwrite
Beth Milligan has a knack for storytelling—and for breathing new life into a classic theatrical form: the radio play.
Her serial podcast, The Jackson Nash Mysteries, is set in the fictional town of Ashville. It revolves around the adventures of a rookie mail carrier, Jackson Nash, who unwittingly finds himself entangled in one mystery after another. Starting with a murder on his first day on the job, Jackson finds himself wrapped up in everything from a kidnapping to art thieves and stalkers. Along the way, he assists his cousin, Inspector Wesley—better known as Bug—in solving crimes, Jackson fosters a budding romance with his co-worker Liz, a feisty red-head with a keen interest in him. What starts as lighthearted flirtation between Jackson and Liz soon blossoms into something deeper as they spend more time together.
Milligan, inspired by 1990s CBC radio dramas like Midnight Cab , entreats her listeners to a quirky and fun podcast. “I just loved Midnight Cab and I wanted to create something with a similar feel but with a small town vibe,” says Milligan.
Each episode unfolds through letters that Jackson writes to an old school pal, Kevin. Through these letters Jackson relays the various cases he finds himself involved in, his budding romance with Liz and reflects on past trauma that plays no small part in his involvement in these small town crises.
The podcast is a full-cast production, enacted by the River and Main Theatre company at Theatre in the Wings, as well as other actors and artists from the Quinte arts community. Original music for the podcast is provided by Aidan Coutts. The majority of the sound effects are all made in-house. From a spaghetti
dinner being prepared to conversations in a shower stall, Milligan and show’s producer Peter Paylor work to create immersive and convincing soundscapes for the series.
Belleville
“There is a lot involved in recording these podcasts. A twenty minute episode can involve over 50 hours of production work,” says Paylor.
Currently, The Jackson Nash Mysteries has five episodes available, with the sixth installment, The Mystery of the Silver Gun, set for release soon. Listeners
can tune in on Spotify, Apple Podcasts, and other major streaming platforms.
The Jackson Nash Mysteries
Outstanding Achievement in Heritage Revitalization
By QAC Team
During Heritage Week,
the Quinte Arts Council (QAC) proudly celebrated Richard Hughes as the recipient of the 2025 Outstanding Achievement in Heritage Revitalization Award for his contributions to the Preservation of Historical Significance.
“Richard was the President of the Hastings County Historical Society (HCHS) from 2012 to 2023, and throughout that decade—and beyond—he has been a dedicated champion of local history,” said Amanda Hill. “His passion for sharing our community’s heritage is evident through his regular appearances on YourTV Quinte, where he discusses historical topics, as well as his frequent contributions to Outlook, the Historical Society’s newsletter.”
Hughes' deep understanding of the role history plays in shaping a community has been instrumental in preserving significant landmarks. “He has worked
"His expertise has also been invaluable to downtown revitalization projects, including the redevelopment of the Memorial Arena.”
tirelessly to document and share the history of buildings such as the Memorial Arena and City Hall,” Amanda continued. “His leadership, alongside
fellow HCHS Past President Orland French, was pivotal in the successful creation of the Community Archives.”
His impact extends far beyond archival efforts. “Richard was actively involved in establishing the Community Archives of Belleville and Hastings County and played a key role in the preservation and relocation of the United Empire Loyalist monument on Dundas Avenue East,” said Gary Nicoll, current President of the Hastings County Historical Society. “He has led the creation and installation of numerous historical plaques throughout Belleville, particularly in the Downtown Business District along Front, Pinnacle, and Church Streets. His expertise has also been invaluable to downtown revitalization projects, including the redevelopment of the Memorial Arena.”
Belleville
In addition to his extensive historical work, Hughes is a regular contributor to the Heritage section of Umbrella Arts magazine, published by the QAC. His passion and dedication to preserving our region’s history has left a profound and lasting impact.
“Richard’s work ensures that our heritage is not only remembered but continues to inspire and educate future generations,” said Janet Jarrell, Executive Director of the Quinte Arts Council. “His contributions exemplify the power of culture and heritage in strengthening our communities.”
Belleville: Hockey Town YourTV Quinte Interview
Shaeree Zoll
Quinte Arts Council
The 30th annual Arts Recognition Awards
By QAC Team
The Quinte Arts Counc-
cil (QAC) is dedicated to celebrating individuals, groups, and organizations that make a meaningful impact in our community. Each year, the QAC honours their contributions through the annual Arts Recognition Awards.
“The recipients of the 30th annual Arts Recognition Awards are truly inspiring members of our community. From activism through art, to a renowned playwright making waves on the national scene, a dedicated theatre volunteer, a historian, a group making theatre accessible to all children and a festival that
celebrates the magic of jazz, this year’s honourees are creating a lasting legacy of achievements,” says Janet Jarrell, QAC Executive Director.
Judy Bridle is a dedicated volunteer with a passion for theatre. In 2024, she is in her twenty-fourth season with the Bel-
Belleville
leville Theatre Guild. She was also Stage Manager & volunteered as an assistant to the Lighting Co-designer & Operator, Northumberland Players, Cobourg. In addition to her lengthy dedication to the theatre arts, and despite the hundreds of hours required for planning, rehearsal, and performance of each production, Bridle volunteers with the Quinte Ballet School, Belleville Downtown DocFest, and the Quinte Arts Council Gallery.
Connie Carson is an author and local historian based in Belleville. She is best known for her work "Memories of Belleville," which is a notable contribution to preserving and documenting the history and cultural heritage of Belleville. Her book captures the essence of the city’s past through a collection of stories, photographs, and personal anecdotes, offering readers a vivid glimpse into the historical and social fabric of the community.
Quinte Youth Theatre offers a comprehensive musical theatre experience, encompassing singing, dancing, and acting roles, as well as opportu -
nities in stagecraft, set design, visual arts, programming, lighting, and stage management. Crystal Clark and Annastacia Smith (owners of Ontario Dance Academy) have consistently demonstrated a commitment to excellence in dance education. Their students have gone on to achieve remarkable success, with many being accepted into top-tier post-secondary dance institutions.
Peter Paylor has many roles and his prowess as a playwright has received national recognition. A playwright, sculptor and entrepreneur. Peter’s focus is on all things artistic. Peter has helped to support the artistic endeavors of Quinte residents by hosting art exhibits; lectures/talks; a Youth Arts Festival, ‘Gary’s Gigs’ lectures and films; Belleville BluesFest artists; classical and folk musicians as well as Loyalist College and East Side Secondary School student films.
Prince Edward County Jazz Festival is in its 27th year as the premier jazz festival in the Hastings and Prince Edward
County region. The jazz festival has grown from a small festival in Picton to a year round incorporated charitable organization. Offering jazz performances throughout the region and providing opportunities for young musicians to learn. They support the PEC Jazz Festival and offer live streaming of performances; and lectures, clinics and other promotional and educational initiatives.
Bill Stearman is a Canadian quilt maker and storyteller who discovered his passion for quilting after a serious leg injury in 2013. His journey into quilt making began as a therapeutic activity to cope with pain, but it quickly evolved into a profound form of artistic expression and a method of activism.
A celebration for these winners and the entire arts community of Quinte was held September 26th, 2024 at Dinkel’s Restaurant in Downtown Belleville.
Photos by Gerry Fraiberg
Quinte Arts Council
QAC’s Artists in the Classroom Program
By QAC Team
The Quinte Arts Counc-
cil (QAC) Arts Education program continues to enrich local classrooms, connecting students with professional artists through hands-on learning experiences. Since 2002, the QAC Arts Education program has invested more than
$200,000 into the community, supporting the careers of local artists, fostering artistic growth and enriching learning experiences for students across the region.
Recently, students at Eastside Secondary School (ESS) and Kente Public School had the opportunity to work with guest
artists through QAC’s initiative. Kyle and Chrissy from Spark Box Studio introduced students to professional silk screen printing. The students designed their own images and learned to print on both paper and fabric, gaining insight into the technical aspects of the process. Beyond the creative experience,
Belleville
they engaged in conversations with the artists about pursuing careers in the visual arts, offering inspiration for those interested in professional art practices.
Meanwhile, at Kente Public School, artist Emebet Belete led a mixed media and painting workshop focusing on the climate emergency. Students explored environmental themes by researching local and global impacts before creating artwork using paper, paint, and personal objects. Through guided discussions on composition, colour, and space, they developed layered, meaningful pieces expressing their ideas on ecological sustainability. The next step for these young artists will be exhibiting their work within their school communities, celebrating creativity, expression, and the invaluable role of art in education.
These are just a couple of examples of how the QAC’s arts education program supports emerging young artists by connecting them with professionals who can inspire and mentor them. By introducing students to artists actively working in their respective fields, the
program helps demystify the creative process and demonstrates how passion for the arts can be transformed into a fulfilling career.
“The arts education program is an essential part of our work,” said Janet Jarrell, Executive Director QAC. “Bringing in artists like Kyle, Chrissy and Emebet not only provides students with technical skills but also helps build confidence and encourages them to think about the future possibilities in the arts.”
The Quinte Arts Council remains dedicated to ensuring that students in the region have access to enriching artistic experiences, continuing to foster the next generation of creative thinkers and makers. Through initiatives like this, the QAC strengthens the local arts community and ensures that young artists have the inspiration and support they need to thrive.
sparkboxstudio.com
emebet.ca
QAC Profile
Quinte
