Rob Raesid


The Summa Series is my own personal exploration of how forms interact with one another. Originally inspired by functional glassware such as whiskey decanters and perfume bottles, the Summa series takes those objects and pares them down into mere suggestions of their former functions. From here, I then experiment with further transformations by uniting shapes together. As the series evolves, I have found that some pieces have become more complex while others have simplified.

While my work is often described as sculptural, I personally reject this characterization. Sculptural art generally tends to have to the connotation of expressing a narrative, something that is not my goal with this series. I prefer to classify this work as decorative as they are not trying to convey a message to the viewer. I have had many interactions with individuals who tell me what they see in my work: natural imagery such as trees and flowers, human figures and families, as well as the whimsical as people also see toys, balloons and candy. Instead of me trying to tell a story, I have instead left room for the viewer to make their own meanings for this series.       


Rob Raeside is a glass object maker who has been working with the medium for 9 years. He has studied both at Sir Sanford Fleming College and Sheridan College. In his second year of studies at Sheridan, he received the Silent Night award. His dedication to the material has allowed him to work for Canadian glass artists such as Andy Kuntz, Paula Vandermey, Sally McCubbin, Paull Rodrigue, as well as a full-time production artist for Alexi and Mariel Hunter. Rob’s work is driven by the inherent complexities of what appears to be simple, and the constant desire to refine his technique.

Sam Pedicelli


A whimsical reimagining of modern life and the personalities and relationships that exist within it, “Metropolis” features a series of sculptures and small-scale installations. Each work illustrates the daily monotony of life in a metropolitan city as a bizarre interaction of figures. They offer a small glimpse into a series of intimate moments, exploring strangely familiar scenes that view contemporary culture through both a cynical and comical lens. Drawing heavy inspiration from the cultures and subcultures I exist within, my current sculptures seek to bring to light the similarities between lifestyles found in large and smaller cities alike. Suburban and urban cultures are brought together here by the tedium of our collective struggles, addictions, relationships, loneliness, and internal lives.
Constructed from repurposed textiles and porcelain, often integrating small found objects and embellishments, these figures serve as a caricature of myself and the people I encounter; they are an assortment of human persona’s masquerading as outlandish characters existing within an imagined city-scape. 
In this ongoing body of work, I find myself reflecting on the constant fluctuation of my own state of being and way of life, as well as the predicaments of those around me. From my daily commute surrounded by familiar strangers, to seemingly endless nights of staying out too late, and evenings spent at home conversing with no one, these sculptures bring to life not only my subjective experience, but overarching themes in the lives of many.


Sam Pedicelli is a Toronto-based artist working in textiles and porcelain in the creation of intricate soft sculptures. She is a graduate of OCAD University’s Drawing and Painting program in 2015, and was an Artist-in-Residence (Textiles) at Harbourfront Centre from 2015 to 2018.
Her work has been exhibited in the two person show “Object Diaries”, as well as the group exhibition “It’s Not You It’s Me” at Harbourfront Centre. Other group exhibitions include “Hard Twist 10” at the Gladstone Hotel, “Fibreworks 2016” at Idea Exchange, the Toronto Outdoor Art Exhibition, and The Artist Project - Untapped. She is the recipient of the Mrs. W.O. Forsyth award in 2015, as well as the Virginia Hamara Law Office Special Award in 2016.

ChengOu Yu


My making process attempts to combine contemporary Western approaches (working towards innovation and originality) with the influence of Chinese traditions in ceramics (a high level of respect for historical forms, using repetition and technique to reach the ideals of “quality” and “beauty”).

Exploring and generating new forms based on the use of plaster mold and slip casting (a path associated with mass production), my process is inefficient yet flexible in several ways. I attempt to make changes by manipulating different elements. Treating the cast piece as a foundation, pinching from hand or pushing with tools, slicing through then reattaching with a slight shift. I love the way that form reacts to every manipulation and the contrast between the rigidity of the molded object and the human touch. I shape and reassemble the existing mold parts, shifting and turning over one side or another. By interchanging the flexible parts, the form has been reinvented. It has become a game that introduces exciting elements of play into the making. Each one is unique in some way with its own simplicity yet potentially more complex when they are presented as a group.
I am exploring the possibilities of using visual language to investigate ideas about relationships, feelings, and situations within my personal environment. As I continue to play with complexity and simplicity; the scale of the work starts to change. My recent work, “Habitat” is a multi-piece ceramic installation. Working with molds allows me to design individual pieces as single elements. The potential for these elements to become modular and go beyond a functional scale is generating exciting possibilities. By multiplying the form, they are assembled either by stacking or in a horizontal orientation. My practice shifted from single to multiple with the intention of creating two-dimensional pattern under a three-dimensional form.

I am Inspired by historical vessels, repetitive pattern as well as modern architecture. I attempt to translate those impressions into reductive forms. The use of light and shadow offers a subtle movement throughout the visual surface represented by assembled individual forms. The entire structure suggests  relationships and boundaries between the individuality and the whole of the community. My goal is to create and balance a dialogue through the use of the vessel and the new environment that is created.



Jing Huang is a ceramic artist and sculptor currently based in Toronto, Ontario. Jing was born and raised in China. She received her BFA from Jingdezhen Ceramic Institute in 2012 and her Advanced Diploma in ceramics from Sheridan College in 2015. Jing's works has been exhibited in Canada, China and the United States since 2010. She is currently an Artist-in-Residence at the Harbourfront Centre in Toronto.


If the distance between China and Canada is 7723 km, then what’s the distance between the previous me and the current me? If there are 12 hours between home and here, what time is it for me now? When a new life meets an old one, that moment draws me close. Tasting newness and oldness at the same time, I can experience the distance and difference between there and here, then and now.

Here, in public parks, the bottoms of trees are protected with mounds of mulch, surrounded by grass. The squirrels are many and they run freely (they aren’t afraid of humans). So many birds hang out in the parking lots. The first year I came to Canada, there was the Big Frozen, the ice storm. When water falls in South China, it’s just rain. When the water fell here last time, the extreme temperature froze the moment and I could see its beauty.

I collect these memories as many different lives – each one is stored in my imagination, as collage elements for my future work.

My explorations are guided by new experiences that come from living in an unfamiliar landscape, meeting different people and experiencing new cultures. The figures, which I believe would not be able to function in the present or move forward without relying on their memory, are a potent symbol and vehicle for me to carry the story. The process involves building volumes, then cutting into them to open up space. This allows me to see inside the piece, meaning that I can look back into the time of making, into the past life of the object – and also into my own past. By taking away old parts, I make room for new possibilities.

In my recent sculpture, I have been exploring nature, loss, dislocation, culture, and mythology. Nature changes a lot. It moves, as I have moved. One loses many things during a move. Sometimes I feel that I have lost my language, my peace of mind, and my close connection with friends and family. Through the process of contemplating and recognizing one’s shifting identity, I am gradually getting interested in researching different cultures and referencing mythologies. This is combined with my observations from daily surroundings. By this way, I’m able to find my key to making sculpture, my way to Shi Wai Tao Yuan, my Shangri-la.