Eastern Front Gallery Closed Its Doors in 2007


Eastern Front Gallery is an exhibition site for visual arts and a resource centre for artists and art enthusiasts.
This was their website.

Content is from the sites's 2006 archived pages.

NOTE: On November 30, 2007, after almost 5 years in operation, Eastern Front Gallery closed its doors.
We are no longer located on Queen St. East. We are, however, searching for a new space and hope to re-open again soon. Thank you to all who have supported us over the years.

Circa 2006


Eastern Front Gallery's mandate is to provide a permanent exhibition space and resource centre that encourages the creation of new works in the visual arts, nurture the growth of professional artists, and contribute to the development of a vibrant arts community in eastern Toronto.

Eastern Front offers artists and collectors an inspiring and inclusive environment for the creation and appreciation of the visual arts. We also accept submissions on an ongoing basis.

Eastern Front grew out of the common interests of a core group of East Toronto artists who participated in the Riverdale Art Walk of 2002. In the beginning, the members met informally to discuss ways of gaining greater control of their artistic future, especially with regards to exhibition conditions and venues. From these discussions an exciting concept began to emerge: a self-directed, co-operative exhibition site and resource centre for East Toronto artists and art enthusiasts.

The next step was to find a home for the new venture. In their search, the artists came across a large warehouse space at Dundas and Logan that seemed ideal for a gallery. With a lot of cleaning up and a slew of lights, Eastern Front Gallery was officially launched Saturday, March 23, 2003.

Eastern Front has gained recognition as one of East Toronto 's pre-eminent artist-run centres and an important contributor to the local arts scene. Membership has changed and grown-the group has said goodbye to some great artists who needed to move on, and welcomed some equally great artists to take up the cause.

Eastern Front Gallery is a member of TEEGA. The Toronto East End Gallery Association's mandate is to create and provide a collegial forum for local galleries to share experiences and resources for their common interest. Please visit www.teega.org for more information and detailed art event listings for Toronto's east-end art scene.

Eastern Front Gallery is located at 750A Queen St. E. Situated in the heart of Toronto's latest gallery district at Queen and Broadview


Diana Braun-Woodbury - Chair
Danette Relic - Secretary
Jason Amlin - Treasurer

Cheryl Buchwald
Robert Christie
Robert Farmer
Kendra Gadzala
March Gregoroff
Caroline Marshall
Ron McKay
Bonnie Miller
Beverly Owens
Dave Saunders
Sandra Smirle
James Walke
Gillian Willans


There are several ways to participate in the Eastern Front Gallery. Gallery members have permanent exhibition space in the Salon Gallery and a slot in the Feature Gallery. Non-members can also apply to show in guest-artist slots in the Feature Gallery. Anyone can become a friend to the gallery, and receive access to the resource centre and discounts on all events taking place at the gallery.


We welcome submissions from artists for membership to the co-operative, or to show as a guest artist in the feature gallery. If you are interested, please submit:

  • 10 slides
  • slide list
  • artist's statement
  • CV
  • SASE (self-addressed, stamped envelope)

Eastern Front Gallery
750A Queen Street East
Toronto, ON
M4M 1H4

Please specify in your application whether you are applying to become a member or to exhibit in the feature gallery.

Eastern Front Gallery is available for private exhibitions and events:

  • One night event rental: $100
  • Two week gallery rentals:
    all of upstairs wall space $1000
    feature gallery $600
    back, salon east wall $200
    back, salon, west wall $150
    lower gallery $300

For more information about our gallery, call (416) 465-2620





Robert Farmer


crazy train

the quarry


a one horse town town

the hunt

My decision to create work loosely based around the fairy tale allows the paintings I create to have some direction. Dreams exist as metaphorical regurgitations without regard for plot or cinematography. By introducing some elements that could appear cohesive, I am able to be slightly concise and utterly aloof simultaneously.

My interest in abandoned buildings relates to dust-encrusted walls of pink and blue wallpaper juxtaposed with tin ceiling tiles and wood . It reminds me of a past that will never know the true insanity of the present (like vinyl siding,). I am attracted to mental hospitals built up to the 1950's; since madness eloquently exists in a similar timeframe as the subjects I portray, I use the mental hospital as a focal point. delusional yet brilliant eccentrics coping with societal demands that deem them unfit for the unreality of everyday life. Luckily the surroundings are made of stone and wood (except for the rubber room) and playtime eats up most of the itinerary.

‘Playtime eats up most of the itinerary' is further explored in this next chapter of work loosely based on ‘the discovery of pink', created in December 2004. Using the metaphor of children strung out on sugar (much like insanity in adults), ‘sweet rabidity' (oil on copperplate) exhibits the characteristics of a dark yet humorous interpretation in the imaginary realm of robertfarmerworld.

July 2005



March Gregoroff

March Gregoroff

My work, all oils, arises out of a need to retreat into myself. As co-ordinator of the Riverdale Art Walk, catalyst for the Eastern Front Gallery and professional art writer, I am regularly putting all of my energy and powers of belief and persuasion into the hands of virtually strangers. While I love what I do, it is psychically draining.

Rarely do I find a long overdue day to take myself away, hide and reflect on being lonesome for myself. When I settle down with those feelings and thoughts it's through painting I find myself again. Some have described my work as being haunted, and it is. It is haunted with the bits of me that I have neglected and are waiting their turn to be welcomed back. I guess I lick my wounds with a paintbrush.



Ron McKay


Ron McKay

Requiem, Charcoal Pencil on Paper Board, 18 in. x 18 in., 2001

Traditional technique and post-modern fragmentation, the human body, the feminine mystique, technology and the soul. These are just some of the themes that run through my work as an artist, a husband and father, and a social and environmental activist.

Colourful and boldly graphic - yet instilled with sensitivity and the occasional sardonic twist - my work is informed by a knowledge of art history and contemporary commercial imagery, critical but amused observations of life, and a love for the small details of the visual world.

My art represents a response to and record of human culture at the beginning of the 21rst century: telecommunications and human connections, decorative symbol and the struggle for deep meaning, digital media and the craft of oil glazing - contradiction and balance. It's what I strive for in my work. It's what I ask the viewer to contemplate.


Cheryl Cowan Buchwald


Cheryl Buchwald

My art-making began when I was in the middle of data analysis for my doctoral qualitative research project. I have been struck ever since by the parallels between the academic research process and the artistic process. Both are interested in novel ideas.  Both develop from a general  idea that is allowed to take its own form as it is investigated and analyzed. Questions and assumptions are combined in a quest for new knowledge. The qualitative researcher observes and probes independent subjects in a defined environment to enhance understanding of human situations; the visual artist stretches and plays with concepts and the known properties of materials to give them new meaning. The form may change greatly according to what the subject suggests and the discoveries that are made along the way. The researcher/artist lets the work both speak for itself and determine its own direction.

Making art appeals to me for these investigative and experimental qualities. But an equally strong attraction rests in the fact that the visual and tactile elements of colour and diverse media create limitless possibilities for expression.

My current work was initially inspired by Ross Bleckner's series of cathedral ceilings. Over time it has segued into cosmic forms created in acrylic on canvas, water-based media on paper, and assemblages in copper wire, chicken wire, molded paper and mylar.



Bonnie Miller



Bonnie Miller

Artist Statement:

I have always lived in cities: I paint the urban environment.

Ideas of power, security and escape dominate my imagery- these themes are recurrent and obsessive: both personal and political.

I received my BFA from Emily Carr Institute of Design and Technology in 1998, with a specialization in printmaking and sculpture. I have been painting in acrylic since 2000. I paint directly, without drawing or technical aids- this leads to distortions and imperfections in perspective that for me create an additional subtext to the image.


Caroline Marshall

42" x 42"


Hang Up
36" x 36"

I am interested in the sculptural qualities of oil paints. My work is concerned with the process of creating a topographical surface on canvas that is familiar, but undefined.

I paint with plaster knives, icing knives, cut plastic or palette knives. I rarely use brushes. I try to counter the textured surface with a simple and mostly predetermined palette. I push layers of paint, squeezed from tube to canvas, down the surface plane. Paints mix slightly as they slide. I sometimes use source imagery—text, a picture, a section of an object or photocopied newspaper clippings. I play with interpretations of text by splitting words, contrasting them with small text, or adding numbers.

I am influenced by the fluid loose qualities of American art during the fifties, Gerhart Richter's abstracts, and minimalist interest in repeated geometric shapes. I borrow Emile Borduas' plaster-like process of placing paint on a surface as if repairing a crumbling wall or drywalling. I find the process exciting.


I intend to continue to work in oil incorporating mixed media to enrich the surface, perhaps deviating from the rectangular or square forms to diptychs or triptychs with varying sized canvases. In other words, I will extend a section that seems to want to go beyond the boundary of the picture plane into another area on another canvas, from one large canvas to a smaller one. I intend to use wide brushes with lots of paint and more mixed media to accent rather than dominate the whole.


Kendra Gadzala

Chinatown I (pink hat)

mixed media on board, 2004.

Pink hat lll

mixed media on board, 2004.


I am interested in the juxtaposition between the classical portrait and the anonymity that exists in an urban environment, and finding common ground between the two. In the walking portraits, I examine movement and anonymity as it relates to an urban environment. Digital video stills from footage shot in Toronto communities were used as the primary source for these paintings. A series of sequential images was created using the same 4:3 aspect ratio as the original film. Specific details from the source were often obliterated by cropping the figures and in some cases abstracted completely into blurred shapes. The resultant paintings are a reflection of the thousands of mental snapshots we take subconsciously every day.

Isolation is a common theme - even the figures in group situations are marked by solitude and seem less together than apart. A three-year stay in a small town in Asia accentuated the perception of isolation and reinforced this theme, and increased the sense of simplicity and design I strive for in my work.





Robert Christie

Robert Christie

Over the years I have been making photographs almost exclusively within the areas close to my home in Toronto . I am drawn towards abandoned spaces, discarded and neglected places. It is in these places that I have sought the moment of perfect stillness, and in the moment of that stillness transform or transcend the scene in front of me through the medium of photography.

A pile of rotting wood, the markings on the side of a wall, become profound symbols of the ephemeral nature of our existence. I am witness to time passing, and paradoxically, to the beauty of the moment as expressed through light and its effect on things. My photographs are perceptions of things as revealed by light, not as document, but as poetry. It is in the abstraction of the scene and its various elements that one can see the immediate physical and sensuous aspects of the moment.



Diana Braun-Woodbury


Diana Braun-Woodbury

My current series of paintings uses vessels as the object of choice. The vessels are used as much as graphic elements as representations of objects found in everyday life. The vessels provide an anchor in a setting that has some identifiable elements but is mostly ambiguous.

Texture and colour are two elements found in these paintings.

The texture is created with the use of molding paste and palette knife. In a world where so much is viewed behind smooth glass and texture is an optical illusion, I savor the tactile quality, both when I'm creating and then again upon completion of a painting when I can drag my hand across the finished surface.

As time goes by, my desire to understand the finer points of colour increases.

I will continue to work with the colour studies and the mystery created with alcoves and back lighting. I find that there is much to explore in the space of tension between the real and the abstract, and I am repeatedly drawn to that space as a painter.