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Colette Campbell-Moscrop


-Gouache, Graphite, Ink and Watercolour on Laid-Textured Paper


-Gouache, Graphite, Ink and Watercolour on Found Paper

Horrible Together, Full Circle

Robert Rothman


-- Ambassador To A Distant Kingdom In The North County

-- The Monk's Halo


Leah MacLean-Evans

-- Blood Days Recipe


Paula Bernett


-- Memory Consumed So It Was Never

-- Quill and Brood

Gordon Massman


-- The Master of Nothing

-- My Appassionato

-- Finnegan's Religion

Naomi Ruth Lewinsky


-- To My Brother's Late Dragon Lady

Marie Andree-Auclaire

-- Closer Than One Thinks

Joelle Barron

-- Total Eclipse

-- House Stuff

Claire Matthews

-- My Underwear Drawer Houses the Book of Mormon

Claire Kelly

-- Poem for a Woman I Made Up

Benjamin Hertwig

-- sunday mornings, after Afghanistan

Eugenie Juliet Theall

-- Other than a Paperweight

Will Harris

-- Imam Ali Shrine

-- Kangaroo Wall


Mallory Tater


-- Heat Dream


Liz Johnston


-- Public Transit

Gardner Landry


-- Mayonaise

Benjamin Dugdale

-- Orlando Two Point O: Hashtag Forever Yung

Artwork and Photography

Gord Marci Jr.

-- Typewriter With Note

Allen Forrest


-- The New World Manbike 12 x 9 2016

-- The New World Workers 2 Ink 15 x 11 2016

Kerry Rawlinson

-- Mistry Trees

David Mutnjakovik

-- Let it Begin

Colette Campbell-Moscrop

-- Untitled-Gouache, Graphite, Ink and Watercolour on Laid-Textured Paper

-- Nope-Gouache, Graphite, Ink and Watercolour on Found Paper

-- Horrible Together, Full Circle-Ink on Cardboard Paper


Margaret Crawford


-- A Review of Kathleen McCraken's Double Self-Portrait with Mirror: New and Selected Poems (1978-2014)

-- A Review of R. Aviars Utskins' The Hoosier Zebra and other "Poims"

Horrible Together, Full Circle

-Ink on Cardboard Paper

About the Artist     


            Colette Campbell-Moscrop’s drawing-based art practice develops through observations about everyday life. Her drawings, as she works on them over time, are gradually stripped and transformed through multiple manipulations. Her depicted subjects vary greatly, from architectural spaces to the human form. In general, her process-driven work demonstrates an exploration of different techniques, playfulness and decision making. By following through with pre-established self-imposed rules, her work evokes strange and unfamiliar visuals while pointing to the everyday.

            Colette Campbell-Moscrop recently completed her undergraduate degree in Studio Arts at Concordia University in 2016.

            Instagram: colettecm_art

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