21 WADE AVE #2 | TORONTO

Patel Brown: Five Years of Art, Collaboration & Community
6 November - 20 December 2025

In 2020, co-founders Gareth Brown-Jowett and Devan Patel set out to create a space dedicated to showcasing alternative perspectives while fostering experimentation and innovation across both programming and operations.This year marks the fifth anniversary of Patel Brown, and this exhibition celebrates a selection of artists who have shaped our journey. From our beginnings in Toronto to our presence in Montreal, and to the cities we reach through art fairs and institutional exhibitions, Patel Brown has grown alongside the vibrant Canadian art scene while building meaningful connections with communities and supporters around the world.

Over the past five years, we have had the privilege of working with exceptional artists whose practices challenge conventions, expand narratives, and reflect the complexity of contemporary life. Their vision and dedication continue to inspire our mission and sustain the creative dialogue that drives us forward. Patel Brown seeks to address gaps in representation and opportunity through a spirit of collaboration and community. The gallery’s program engages with cultural and identity-based traditions, examining how these narratives evolve, adapt, and are redefined within an increasingly globalized world.

We extend heartfelt thanks to the artists who trust us with their work; to our collaborators, collectors, and supporters; and to the public and private institutions that have partnered with us along the way. Most importantly, we thank the audiences who engage, question, and celebrate art with us.As we look ahead, Patel Brown remains committed to fostering dialogue, creativity, and connection across borders. Here’s to the next five years of art, discovery, and community.

Muriel Ahmarani Jaouich is a Canadian artist of Armenian, Egyptian, and Lebanese descent, exploring themes of genealogy, intergenerational trauma, and historical violence through her paintings. Her work is deeply rooted in her family’s history of diaspora, immigration, and genocide, drawing from oral histories, photographic archives, and inherited objects. Ahmarani Jaouich transforms these sources into narratives that blend memory with imagination, resonating with ancestral grief. Her practice advocates for a continual process of listening, believing that addressing ancestral grief liberates present and future generations. Currently residing on the unceded indigenous lands of Tiohtià:ke / Montréal, QC, Canada, on Kanien’kehà:ka Peoples territory, she has received recognition through the Lilian Vineberg Scholarship, Merit Scholarship, and Tom Hopkins Memorial Award. Her artworks have been exhibited at Montreal Museum of Fine Arts, Patel Brown, CLARK Center, articule, Printemps du MAC and Arsenal New York. Ahmarani Jaouich’s paintings are held in corporate collections, including Hydro-Québec, RBC, Scotiabank, as well as in private collections in New York, Los Angeles, Prague, Barcelona, Milan, Toronto, and Montréal.

Shary Boyle lives and works in Toronto. She is the recipient of a 2021 Honorary Doctorate of Fine Arts from the Ontario College of Art and Design University where she graduated from in 1994, developing a multidisciplinary practice centred on drawing, sculpture and performance. Boyle’s work considers the social history of ceramic figures, animist mythologies and folk-art forms to create a symbolic, feminist and politically charged language uniquely her own. Creating deeply imaginative, idiosyncratic, and unsettling worlds, Boyle was an early innovator of live-drawing techniques using overhead projectors referencing shadow puppetry and cell animation. Boyle activates her practice through collaboration and mentorship, engaging other creative communities and disciplines with a characteristically inclusive spirit. Boyle has received the Gershon Iskowitz and Hnatyshan Award and represented Canada at the Venice Biennial in 2013. Her solo touring exhibition Outside the Palace of Me is currently on display at the Museum of Arts and Design (MAD), New York in 2023/24, and will complete its 6- museum tour at the MacKenzie Art Gallery, SK, from April through September, 2024.

Kim Dorland pushes the boundaries of representation through an exploration of memory, material, nostalgia, identity and place. Drawing heavily from the history and language of painting, the loose yet identifiable scenes are interjected with areas of heavy abstract impasto. His refusal to remain faithful to one medium or approach plays into the symbiotic nature of his work. He has exhibited globally, including shows in Milan, London, New York, Chicago and Los Angeles. His work is featured in the Contemporary Art Foundation (Japan), The Sander Collection (Berlin); Musée des beaux-arts de Montréal; Musée d’art contemporain de Montreal; Glenbow Museum (Calgary); Museum of Contemporary Art San Diego, Art Gallery of Alberta, the Audain Art Museum and numerous important private collections.

Michael Dumontier and Neil Farber are founding members of The Royal Art Lodge, and have continued a collaborative practice since the collective disbanded in 2008. Their work has been exhibited nationally and internationally. They were shortlisted for the Sobey Art Award in 2014. Dumontier and Farber’s work is included in the permanent collections of the National Gallery of Canada, Vancouver Art Gallery and Winnipeg Art Gallery as well as Takashi Murakami, Tokyo, Japan; La Maison Rouge, Paris, France; Centro De Arte Caja de Burgos, Burgos, Spain.

Alexa Kumiko Hatanaka is a Japanese-Canadian artist based in Toronto. Her practice brings together historical craft technologies of her heritage including ink, natural dye, printmaking and papermaking. Her work is experience based and includes long-term community-engaged projects with collaborators in the high Arctic as well as recent collaborative performances that integrate and reinterpret kamiko, garments sewn out of washi, Japanese paper. Her work carries forward the beauty and possibilities of environmentally sustainable traditions into the future. Her approach to wearable sculpture removes the boundaries between craft, fashion and art. Hatanaka’s intentional choice of materiality supports the concepts embedded in her work which includes interconnectedness and impacts of globalization on communities integrally grounded in specific lands and collapsing time to layer ancestry and past versions of self.

Frantz Patrick Henry is a multidisciplinary artist of Haitian origin based in Montreal. A graduate of the Université du Québec à Montréal (2019), he was awarded the McAbbie Foundation Excellence Award in Sculpture for his installation Je suis nouveau ici (2020). Deeply engaged in Montreal’s art community, Henry is active in several artist-run centres, notably DARE-DARE, where he serves on the board of directors as well as the programming and strategic planning committees. He is also a recent member of Centre Clark and frequently collaborates with other artists, occasionally offering technical support in sculpture.Through sculpture, painting, installation, photography, and animation, Henry’s practice explores the notion of “becoming.” By reimagining everyday objects and diverting them from their usual functions, his works often manifest as immersive sites, spaces that invite viewers to experience art as a form of social geography.Born in Barbados,

Dominique Fung (b. 1987, Ottawa, Canada) lives and works in Brooklyn, New York. She received a BAA from Sheridan College Institute of Technology in Toronto, Canada. Recent exhibitions include (Up)Rooted, Massimo de Carlo, London (2023, solo); A Tale of Ancestral Memories, Rockefeller Center, New York (2023, solo); Orrizonti, Casa Masaccio - Centro per l’Arte Contemporanea, San Giovanni Valdarno (2023); MATERNITY LEAVE: NONE OF WOMEN BORN, Nicodim in collaboration with the Green Family Art Foundation, Dallas (2023); Objects for Comfort in the Afterlife, Pond Society, Shanghai (2022, solo); Crossing, Kotaro Nukaga, Roppongi (2022); In Bloom, Massimo De Carlo Pièce Unique, Paris (2022); Wonder Women, curated by Kathy Huang, Jeffrey Deitch, New York and Los Angeles (2022); Luncheon on the Grass, Jeffrey Deitch, Los Angeles (2022); Coastal Navigation, Nicodim, Los Angeles (2022, solo); Women of Now: Dialogues of Identity, Memory and Place, Green Family Art Foundation, Dallas, Texas (2022); Dominique Fung and Katherina Olschbaur: My Kingdom and a Horse, Galeria Nicodim, Bucharest (2021, two-artist); It’s Not Polite to Stare, Jeffrey Deitch, New York (2021; solo); PAPA RAGAZZE!, Nicodim, Los Angeles (2020); Relics and Remains, Nicodim, Los Angeles (2020, solo); Friends and Friends of Friends: Artistic Communities in the Age of Social Media, Schlossmuseum, Linz (2020); TRANS WORLD, curated by Ben Lee Ritchie Handler, Nicodim Los Angeles and Galeria Nicodim, Bucharest (2019); Wash Your Corners, Ross + Kramer, New York (2019, solo); and Looking Backward, Moving Forward, Taymour Grahne, London (2019, solo).

Native Art Department International (NADI) is a collaborative long-term project created and administered by Maria Hupfield and Jason Lujan that began in Brooklyn in 2016 and is now based in Toronto. NADI seeks to circumvent easy categorization by comprising a diverse range of undertakings such as unannounced actions, curatorial projects, video screenings, paintings, collective art making, and mixed-use installations. All activities contain an undercurrent of cooperation and non-competition while at the same time functioning as emancipation from essentialism and identity-based artwork. NADI has been featured in exhibitions at Varley Art Museum (Markham), Museum of Contemporary Art (Toronto), and Mercer Union (Toronto). Their works are present in private and museum collections including Markham Public Art and Art Gallery of Guelph, as well as several corporate collections.

Kyle Alden Martens is an interdisciplinary artist based in Montréal. He graduated from the Nova Scotia College of Art and Design University in 2015 with a BFA in Intermedia. He is a recent MFA graduate in sculpture at Concordia University and were supported by the Dale and Nick Tedeschi Arts Fellowship, the Joseph-Armand Bombardier Canada Graduate Scholarship (SSHRC), and the Fonds de Recherche du Québec - Société et culture (FRQSC). Throughout Martens practice whispers of touch and tension are hinted at in referential forms like gloves, marbles, knots, and reflexology diagrams. Clothing serves as an allusion, throughout his practice, to fitting and fitting in. In some cases, objects nest perfectly into places designed with care and attention to accommodate them. In others, fitting is more theoretical, calling into question how queer bodies take up space. Each series presents a cohort of friendly and fetishized objects, installations, performances, and videos—seductive yet unruly, softly rebellious. Martens is a current laureate of the Claudine and Stephen Bronfman Fellowship in Contemporary Art. Among others, Martens has exhibited with Circa Art Actuel, Leonard & Bina Ellen Art Gallery and Pangée in Montréal, AXENÉO7 in Gatineau, as well as the Khyber Centre for the Arts in Halifax. His exhibition PORTABLE CLOSETS, has been shown nationally at Stride Gallery, Centre CLARK, and Eastern Edge Gallery. His practice is currently supported by a Canada Council for the Arts creation grant where he is investigating sites of storage to find alternative metaphors for the proverbial closet.

Malik McKoy Malik McKoy (b. 1995, Surrey, B.C.) is an emerging, multidisciplinary artist whose practice consists of painting and digital media. McKoy attempts to create a visual world that spans across both practices. The subject matter of the work is the banality of his personal anecdotes, translated through a vibrant and playful lens, while exploring themes related to queerness and sexuality. McKoy recently relocated to Montréal from Ajax, ON in pursuit of his MFA degree at Concordia University. In the spring of 2024, McKoy participated in World Creation Studio’s CO/CREATE residency program. McKoy has previously exhibited work at Trinity Square Video, Susan Hobbs Gallery, and the Robert McLaughlin Gallery, among others. McKoy also currently has public murals installed in Ontario, Canada (Pickering and Vaughan).

Rajni Perera explores issues of hybridity, futurity, ancestorship, immigration identity/cultures, monsters and dream worlds. In her work she seeks to open and reveal the dynamism of the icons and objects she creates, both scripturally existent, self-invented and externally defined. Thus creating a subversive aesthetic that counteracts antiquated, oppressive discourse, and acts as a restorative force through which people can move outdated, repressive modes of being towards reclaiming their power. Recent exhibitions include Banners For New Empires at The Mackenzie Gallery (2019; duo with Nep Sidhu) ; TRAVELLER at Patel-Division Projects (2019); and Believe at The Museum Of Contemporary Art Toronto (2018). Perera’s Fresh Air (2019) was acquired by the Art Gallery of Ontario. She is the recipient of the 2022 MOCA Toronto Award and of numerous Canada Arts Council grants, including the York Wilson Memorial Award.

Mia Sandhu is a Punjabi Canadian artist currently residing in Toronto Ontario. Sandhu’s multidisciplinary practice explores themes of femininity, sexuality, cultural hybridity, self authenticity, and safety. Expressed through her playful paper and gouache/watercolour based works, Sandhu seeks to examine inner conflicts seemingly intrinsic to womanhood while also challenging more abstract concepts like unrequited assimilation and cultural dysphoria. She attained her BFA from the Nova Scotia College of Art and Design in 2009 and has since participated in residencies at Cotton Factory and Smokestack Studios both located in Hamilton Ontario. Her work can be found in private collections around the world. She has exhibited across Canada, the USA and Europe.

Marigold Santos was born in the Philippines, and immigrated with her family to Canada in 1988. She pursues an inter-disciplinary art practice that examines diasporic lived experience and storytelling, presented within the otherworldly. She holds a BFA from the University of Calgary, and an MFA from Concordia University. As a recipient of grants from the Canada Council for the Arts, the Alberta Foundation for the Arts, and the Conseil des Arts et des Lettres du Québec, she continues to exhibit widely across Canada. Her recent solo exhibitions include SURFACE TETHER at the Art Gallery of Alberta (2019) MALAGINTO at Montréal, Arts Interculturels (MAI) and the Dunlop Art Gallery in Regina (2019), the pace and rhythm of time, floating at The Southern Alberta Art Gallery (SAAG) and Patel Brown, Toronto (2023). In 2023, she was longlisted for the Sobey Art Award. Santos maintains an active studio practice and resides in Treaty 7 Territory, in Mohkinstsis/Calgary.

Winnie Truong is a Toronto artist working with drawing and collage to explore ideas of identity, feminism, and fantasy along with a digital art and animation practice that includes public art and community engagement. Her work has been featured recently in Uses of Enchantment curated by Sarah Milroy at the McMichael Canadian Art Collection and the Varley Art Gallery and with recent solo exhibition at Contemporary Calgary. Truong has exhibited internationally, with solo presentations at Volta New York Art Fair, Pulse Miami Art Fair and Art Toronto. Truong is a 2017 recipient of the Chalmers Arts Fellowship. Her work can be found in private collections, The Nerman Museum of Contemporary Art, Overland Park, Kansas, Doris McCarthy Gallery at the University of Toronto, Bank of Denmark, EQ Bank, Scotiabank Fine Art Collection, RBC Art Collection and TD Bank Corporate Art Collection.

Howie Tsui (Tsui Ho Yan / 徐浩恩, b. 1978 in Hong Kong and raised in Lagos, Nigeria and Thunder Bay) currently lives and works in Vancouver, Canada. Working in a variety of media—including ink brushwork, sound sculptures, lenticular lighboxes, and installations—Tsui constructs tense, fictive environments that subvert venerated art forms and narrative genres, often stemming from the Chinese literati class. He employs a stylized form of derisive and exaggerated imagery as a way to satirize and disarm broadening regimes and their programs of cultural hegemony. The most notable branch of his practice involves the use of algorithmic animation sequences to raise questions around order, chaos and the potential of social harmony through self-organized societies. Tsui synthesizes diverging socio-cultural anxieties around superstition, trauma, surveillance and otherness through a distinctly outsider lens to cast light onto liminal and diasporic experiences.His recent solo exhibitions include the Art Gallery of Greater Victoria (2021), Ringling Museum of Art, Sarasota, Florida (2020); Burrard Arts Foundation, Vancouver (2020); Ottawa Art Gallery (2019); OCAT Museum, Xi’an, China (2018); and Vancouver Art Gallery (2017). Select group exhibitions include Tai Kwun Contemporary, Hong Kong (2021); Vancouver Art Gallery (2021); Asia Now, Paris (2019); Ottawa Art Gallery (2018); Art Labor, Shanghai (2015); Dalhousie Art Gallery, Nova Scotia (2015); Para Site, Hong Kong (2014); the National Gallery of Canada, Ottawa (2014); and the Asian Art Museum, San Francisco (2013). His work is in the public collections of the National Gallery of Canada, Vancouver Art Gallery, Art Gallery of New South Wales, Canada Council Art Bank, Ottawa Art Gallery, City of Ottawa, Global Affairs Canada, RBC Collection, Centre d'exposition de Baie-Saint-Paul and M+ Museum of Visual Culture (Hong Kong). Tsui received Canada Council's Joseph Stauffer Prize in 2005 and was long-listed for the Sobey Art Award in 2018. He holds a BFA from the University of Waterloo.