A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather.
Odesa Company’s ‘StageQuest: A New Voyage’, now playing this week only at the Auburn Stage at the Grand Theatre, is must-see theatre.
The form, using the toss of a die to determine plot twists, is a refreshing innovation to the staid structure of traditional theatre.
Written and directed by William Flood and Jess Pereira, the audience becomes intimately involved in the action. It is fantasy, for sure, and ultimately engrossing!
(William Flood and Jessica Pereira.)
The characters draw us in and make it matter what happens. The four main protagonists, ‘Borbra’, played by Aech Berteig, ‘Miz’ri’ played by Sofia ‘G’ Eidsath, with Ryan Hoffer portraying ‘Roderick’, and anchored by the ‘Quest Master’ Mariana Hrnjak, take us on a wild ride.
Katie Addley, Frances Bogolea, Dustin Didham, Kirsi Marino, Marc Motiejunas, Ray Joe Moreau, and Amanda Roberts form a strong ensemble in support.
(Photo: Brian Speagle.)
This is a one-week run, so don’t delay and get your tickets ASAP!
This is the ninth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Beth Stewart profiles Visual Artist Cathy Horvath Buchanan.
(Cathy Horvath Buchanan – the artist at work.)
For many years, Cathy Horvath Buchanan’s paintings were constructed purely from imagination and they manifested as colourful landscapes with a folk-inspired sensibility.
(Cathy Horvath Buchanan, “Lake Road Red Tree”, 14 by 18 inches, acrylic on canvas.)
Her current work is rooted in real-world sources. In it, she combines imagery from her plein air studies with photos from her camera roll to construct paintings. A healthy dollop of artistic licence means she still honours the colorful characteristics of her earlier work.
Horvath Buchanan explains, “The external inspiration is the starting point, but during the creation process I mutate elements in the picture, looking for ways to add colours, cast shadows, interesting lines, and use mark-making to express the dynamic mood of the view. Imagination informs most of those changes, as I freely adlib to find rhythms within the painting to accentuate the vibe of the subject.”
Horvath Buchanan is driven to create by the desire to express what she sees so she can keep it close. To commit something to canvas, she examines every aspect of her chosen subject. She says, “Once I paint something, it will always be with me.”
She makes good use of this ability to cement memory: “In the winter I paint flowers and summer landscapes because I miss and want the joy they bring me.”
Horvath Buchanan has work in local galleries, including Museum London’s gift shop, Sparta’s Gathered, Main Street Gallery in Bayfield, St. Thomas Elgin Public Art Gallery, and in venues around Port Stanley including the Art & Soul Cafe, and the Windjammer.
She is currently in the top 100 for the 2026 Kellogg’s Art Competition with “Golden Harbour Port”, a colourful acrylic on canvas painting of the Port Stanley harbour.
(Cathy Horvath Buchanan’s “Golden Harbour Port”, a 20-by-26-inch acrylic on canvas can be seen at the 2026 Kellogg’s Art Competition.)
She is looking forward to once again being in the Elgin County Studio Tour September 26 and 27. This is the perfect opportunity for art lovers to visit her Port Stanley studio.
(Cathy Horvath Buchanan, “Beach Path Port Franks”, 22 by 28 inches, acrylic on canvas.)
For more information on Cathy Horvath Buchanan, and to see her online offerings of paintings, prints and more, visit her website at CathyHorvathBuchanan.com
On July 21, Quiet Earth held its latest concert adventure featuring the groovy acoustic duo The Luckiest – and from the UK, renowned musician and author Neville Farmer.
The Beat Magazine 2025’s photographer, Belinda J. Clements, was there and filed these photographs.
Odesa Company’s production of StageQuest: A New Voyage plays on the Auburn Stage at the Grand Theatre, July 25 to August 1. Co-Directors/Playwrights Jessica Pereira and William Flood talk about the production in this Q&A Interview with Richard Young.
Q. How many StageQuest productions has Odesa Company done to date?
StageQuest: A New Voyage is the second installment in the StageQuest anthology. The first production, StageQuest: Beyond the Veil, premiered at The Palace Theatre in 2024. There’s always more adventure awaiting, and we quickly got to work writing another script for Odesa.
Q. What’s the basic premise of the series?
StageQuest is an original fantasy-comedy inspired by the collaborative storytelling, improvisation, and unpredictability of tabletop roleplaying games like Dungeons & Dragons. Each production combines epic fantasy adventures with live audience participation, creating an experience that feels like watching a campaign come to life on stage. We wanted to explore the magical mayhem, challenges, and triumphs of telling a story together.
Q. What is the plot of StageQuest: A New Voyage?
StageQuest: A New Voyage follows a mismatched party of new adventurers forced to work together as they discover they have accidentally kidnapped a baby princess. As the kingdom is thrown into a frenzy trying to catch our fugitive heroes, the group must navigate not only the fantastical dangers before them but also the complicated relationships within the party itself.
Q. What can audiences expect from the production?
Audiences can expect a fast-paced blend of fantasy, comedy, and heartfelt storytelling, filled with nods to tabletop RPGs while remaining welcoming to anyone who loves a great adventure. Throughout the show, audience members seated in designated Dice Roll Zones may even be called upon by fate to roll a giant d20, with the outcome helping shape key moments in the story. It’s a theatrical experience where every performance is unique, and the audience helps tell it.
This is the eighth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Richard Young conducts a Q&A Interview with London author Trina Brooks.
Q. Could you provide me with some basic biographical information – Where were you born? Where did you go to school? Have you always resided in London?
I was born in London and grew up, running wild and unsupervised during the time period our city has been dubbed ‘the serial killer capital’ of the world. We weren’t aware of it at the time, and as a kid my focus was elsewhere, like exploring the library, at the movies, or roaming my neighbourhood in Berkshire. In grade eleven, I switched schools specifically so I could immerse myself in theatre under the training of Art Fidler, one of the best theatre arts teachers in Canada. Between theatre and English class, it was clear my passion and abilities were creative ones. I combined both those skills by graduating from Fanshawe College in Broadcast Journalism. This is where I learned how to conduct research and constantly ask “why” about a topic, but the theatre kept calling. I moved to Toronto and jumped into the theatre scene, where I performed in everything from Shakespeare in the Park to large-cast musicals. A few years later, I travelled to London, UK, for drama school and adventure, returning a year later to this London, where I’ve been ever since.
Q. What motivated you to become a Writer?
Books and movies motivated me to tell stories that made you feel something. Growing up, I read voraciously. If I didn’t have a book, I’d scour my parents’ shelves, reading anything I could, including ‘Flowers in the Attic’ and ‘Joe Girard: How to Sell Anything to Anybody’. Besides books, much of my summer holidays were spent in dark theatres, losing myself in films of every genre. For me it’s the combination of stories that take you someplace outside your own life and learning something new. Every good story does that. I did learn things about sharks from the movie Jaws, and I could name Civil War battles from what people called my trashy historical romance books. Storytelling both entertains us and teaches us. So, like a person who goes to school for medicine because they witnessed how a doctor can save lives, I wanted to write because I knew how my life was enriched, comforted, spooked, entertained, and grew from the stories I read.
Q. Do you consider yourself a full-time Writer, part-time Writer or casual Writer?
I consider myself a full-time writer. It is what consumes most of my time and definitely the majority of my thoughts. Although I always wish I could squeeze out a few more hours at my desk working on projects, apparently I am expected to also ‘live life’ and interact with the outside world.
Q. On your Facebook page, you describe yourself as “A history, mystery writer and playwright of stories set throughout the 20th century.” Could you elaborate on that description?
After my time in England, I found myself not as enamoured with acting on the stage and speaking other people’s words. When I returned home, I began writing my own plays, telling the stories and creating the characters I wanted to see. As I wrote, without consciously planning it, the majority of my plays were historically based in the 20th century. The play I’m most known for is called ‘Left Behind ’, about a WW2 Spitfire Pilot and a veteran from the War in Afghanistan. It was the first play ever put on at the Wolseley Barracks military base. I’ve since realized I am infatuated with history from the 1900s. My theory is that it’s because I have conscious memory of events and life from the mid-70s on, but I also feel very close to the preceding decades. It’s as if I am just an echo away from the major events of the 20th century. Growing up, the WW2 veterans were people in their fifties: our neighbours, my dad’s boss, etc. My own grandmother was born in the late 1890s, so I was surrounded by people who gave me first-person accounts of the Roaring 20s, the Great Depression, and both world wars. I feel connected to our recent history, and it is such rich content, especially for someone who writes mystery novels.
Q. What are some of the titles of the books you have published to date? What’s your most recent publication? Can you tell our readers a little bit about it?
The novels I’ve written are a crime series following the investigations of Detective Inspector Victor Lapointe. He’s a 1950s-era O.P.P officer, whose jurisdiction covers three hundred thousand square miles of the small towns and sparsely inhabited wilds of Northern Ontario. The first book, The Barren Hills of Creighton, is set in a company town. In those days, mining towns were owned and operated by the company, and you could only live there if you worked for them. I set the first book in an isolated mining town where everyone knows everyone and their business. So, when a murder takes place, it means one of their neighbours is a killer. Besides the Inspector, the character Rose has really captured the heart of many readers who keep asking for more of her story.
The second book, A Killing in Copper Cliff, has Lapointe in a different small town investigating a murder at the Teacher’s Residence with an unexpected victim and a witness with no memory. These are traditional whodunits where you are guessing until the final reveal who the killer could be. I write in a cinematic, fast-paced style, which is why many readers describe my stories as page-turners, and I like to add subtle elements and hints that keep you guessing.
Q. Do you have a publisher or are your books self-published?
I decided with my first book to self-publish, as the timelines in traditional publishing can be one to two years from acceptance to book in hand. Fortunately, it turned out I really love self-publishing, developing relationships with editors of my choosing, working collaboratively with cover artists, and having the final say on all aspects of taking the book from idea to print. With that experience, I decided to continue publishing under my own imprint, The Scribbler Press.
Q. Every writer has a unique daily routine or creative process. Could you describe a typical writing day for Trina Brooks?
I wish I could say I’m up at 4 am, write for six hours, then run 10K like Haruki Murakami or that I keep a hotel room so I can have solitary, undisturbed writing time, like Maya Angelou, but alas mine is far less noteworthy.
I usually begin with the business side: emails, finances, or working on my true crime newsletter, The Scribbler. The creative side of novel writing looks different every day. Sometimes I write furiously, tapping away as if I can’t get the words out fast enough. Other days it’s me going for a run or a walk, as that is how I work out character or plot problems. I do love to play instrumental music when I write. YouTube is a great resource because you can search out “epic instrumental”, “sad music” or “music for writing mystery”. They have pieces for whatever mood I am writing at that moment, and it helps to settle me into the scene.
Q. Are you working on anything new at the moment? Details?
Right now, I am in the middle of the chaotic first draft of the third and final book in the Inspector Lapointe series. This one will be set on Manitoulin Island. All I can say is it will have a bit of a locked-room mystery vibe as the murder takes place on a small island. I am so looking forward to my research trips because, come on, who doesn’t want to spend their summer holiday/work time on Manitoulin Island?
Q. What advice would you give to aspiring writers?
Number one, I would say dismiss other people’s ideas of what success as a writer looks like. The number of times, well-meaning people have said “Maybe you’ll be the next J.K. Rowling” when I tell them I’m a novelist, well, it’s a long list. Her career trajectory is not one you can plan or strategize for, and if you try, you’ll fail because you’re focusing on the wrong things. You have to alone decide what success is for you.
My second piece of advice is to claim your space. If you are writing regularly, working on your craft, reading books on writing, taking courses, submitting your pieces, and are actively pursuing getting your writing out to the world, then you are a writer. Not someone “who wants to be a writer”. Own it and proclaim it. It’s amazing how quickly you will fall into the role once you say it out loud. One of my greatest memories is the first time a friend introduced me as “This is my friend Trina, she’s a writer.” It was life-changing because from that moment on I was like, “Well, if people are going to know me as a writer, I guess I better start acting like one.”
Q. Is there anything else you think our readers should know about Trina Brooks the author and Trina Brooks the person?
Many people are not aware that only 13% of books purchased in Canada are by Canadian authors. I think we can do better, and it is something I’m intensely focused on. This is a vast country with so many talented writers telling our stories, set in familiar places that are often overshadowed by the best-seller market that highlights international authors. The people in Northern Ontario have devoured my books because they tell me how much they love reading a murder mystery novel and come across a building, a street, or a town they know well. How fun is that?
I strongly support and highlight Canadian authors in my monthly newsletter, The Scribbler, where I share Canadian true crime stories that will surprise you, and I also have a Reading Canada section. Each month I share a different Canadian author who you may or may not have heard of.
If you love true crime and Canadian content, you can sign up for my newsletter at my website Home – Trina Brooks
(Pictured: Catherine Morrisey, “We are going for an adventure”, oil on canvas, 36 by 48 inches, 2026.)
Rejection. It is an inevitable consequence of being an artist. To have your proposal or work rejected is disappointing but can spur redirection. To paraphrase a line from Chumbawamba’s 1997 hit “Tubthumping”, you get knocked down, and you get up again.
Yet, rejection may trigger feelings of anger and self-doubt.
This writer recently had a residency application rejected. In an email, I was thanked for my application but informed that “after careful review by the adjudicators,” the organization was not able to offer me a place in the program. It cited limited places and a high volume of quality applications as contributing factors. It ended with, “We understand this news is disappointing for you and hope that it does not discourage you from applying to future programs.”
Was I devastated? No. Will I quit doing art? No.
London artist Catherine Morrisey is no stranger to rejection. With a lengthy career as an artist and strong exhibition history, she is a seasoned veteran of the fickleness of the art world.
Earlier this year, Morrisey had enthusiastically entered a particular art competition and encouraged others to do the same. When their pieces were rejected en masse, she felt bad. Not for herself, but for others. She wondered how she could make it better for them, how she could make them feel “appreciated.”
She thought of how a group of French painters reacted to their rejection from the annual Paris Salon over 150 years ago. They revolted. Says Morrisey, “They had a big party. They celebrated each other’s art. It was a new beginning for art.”
The annual Paris Salon began in 1667; sponsored by the French government and the Academy of Fine Arts, it was an exhibition of the best academic art. Its jury was conservative; idealized realism was expected. When, in 1863, the Salon jury refused 4,000 paintings – approximately two-thirds of the paintings submitted – the rejected artists and their friends protested.
Among the “rejects” were Édouard Manet’s “Déjeuner sur l’herbe” and James McNeill Whistler’s “Symphony in White, No. 1: The White Girl”. Both paintings were thought to be scandalous. Also rejected were works by Camille Pissarro, Johan Jongkind, Henri Rousseau, and James McNeill Whistler.
With the blessing of Emperor Napoleon III, the refused works were displayed in another part of the Palace of Industry. The resulting 1863 Salon des Refusés welcomed more than a thousand visitors per day.
Morrisey went from reaction to action and became an instigator. Not being juried in herself and hurting for her friends sparked an idea, and she ran with it.
Sandra De Salvo, executive director of the TAP Centre for Creativity, says when Morrisey presented her with the idea of aSalon des Refusés,it just felt right for her venue.
The call went out: “While sometimes challenging to face, rejection is an inherent and important part of the artistic process and an artist’s career. At the suggestion of London artist Catherine Morrisey, TAP is hosting a Salon des Refusés. Inspired by the 1863 exhibition of the same name, this exhibition highlights the important role rejection plays in finding an audience, building resilience, and growing as an artist while also acknowledging that rejection can feel exclusionary, disheartening, and disappointing.”
Eligibility was loose: “Artists must be based in London or the surrounding area. Artwork must not have been exhibited before. Artwork must have been rejected from at least one exhibit application process.”
The acceptance process was simple: “In the spirit of this exhibition, we will include as many works as possible, but the submission form will close when we have reached our maximum capacity.”
TAP’s Salon des Refusés promises to be an exhibit with a broad reach. It presents the opportunity for people to come together to connect, share experiences, and to create dialogue. De Salvo’s philosophy on rejection: “Don’t hide from it – put it out there and talk about it.”
(Pictured: Nick Hall, “I will follow you into the dark”, acrylic on canvas, 60 by 48 inches, 2024.)
Participant artist Nick Hall says, “Rejection, resilience and growth could be called the holy trinity for any serious artist because they are a proven catalyst for progress.”
But, on the flip side, he muses that not all rejection is helpful or even warranted. Rejection made on personal biases is frustrating.
He is fond of the piece he entered in the Salon. The idea for “I will follow you into the dark” came to him rather abruptly, and he felt “compelled” to capture it on canvas. Of the piece, Hall says, “Not everyone will ‘get’ it, perhaps because they fail to really look at it. To those that do, I thank you in advance.”
“Obviously, it’s not everyone’s cup of tea, so attempts made to enter it into exhibits that are naturally interested in more standard fare have failed. Until now!”
As to what he expects to get out of the Salon … “a red dot would be nice. But really, just gauging people’s reactions to it will be a treat.”
(Pictured: Gabriella Solti, “Collage I”, Japanese washi paper, 7 by 5 inches, 2026.)
Participating artist Gabriella Solti believes, while rejection is part of life, “Artists experience more of it than most because they repeatedly put themselves and their work forward – submitting to open calls, applying for grants and residencies, and pursuing professional opportunities (all very competitive arenas). Beyond making art, a good part of an artist’s practice is taking risks and putting their work and artistic practice up for scrutiny.”
She recognizes that many artists feel wounded when their artwork is rejected, and a Salon des Refusés can lighten the sting.
However, Solti’s own perspective is coloured by having been on both sides of the process. She says, “Twenty years ago, I worked as the gallery coordinator of a suburban municipal art gallery near Vancouver, where I organized open calls, coordinated jurying processes, and curated exhibitions. I know firsthand that there are far more strong artworks than any gallery has the space to exhibit thoughtfully. A rejection is rarely a definitive statement about the quality of a work. More often, it simply means that, within the specific context of a particular exhibition, the work did not align with the curator’s conceptual vision.”
Her motivation for submitting “Collage I” to TAP’s Salon des Refusés comes from her belief that “Every artwork has a receptive audience. The only way to find that audience is to continue showing the work.” Submission, then, is not only a risk – it is also an opportunity for a piece to find viewers with whom it resonates.
(Pictured: Oswaldo DeLeón Kantule, “Salmon Factory”, acrylic on canvas, 137 by 163 cm, 2026.)
Oswaldo DeLeón Kantule’s art is well recognized in his home country of Panama, but he has struggled to break into the Canadian market.
He says, “Though I was not born in Canada, it’s important for me to feel connected to the community where I live.”
Kantule has lived in London for almost 25 years. He painted “Salmon Factory” for a specific competition as a fusion of Canadian elements (the salmon) and elements from his culture (the mola textile pattern).
While he had submitted work to the same competition in the past and had been rejected, he thought he had a better chance this year after having been selected to participate in the 2024 Venice Biennial.
Again, he was not selected. Kantule says, “It has left me with questions.”
The Salon des Refusés allows Oswaldo DeLeón Kantule to continue cultivating a relationship with his community.
(Pictured: Beth Stewart, “Robin with Grapes, coloured pencil on Museum Board, 12 by 12 inches, 2026.)
TAP’s Salon des Refusés will be hung “salon style;” this means artwork will be hung from floor to ceiling. Thanks to visionaries like Catherine Morrisey and Sandra De Salvo, “We are going for an adventure”!
TAP’s Salon des Refusés runs from July 22 to August 15, 2026, at TAP Centre for Creativity, 203 Dundas Street. The opening reception is Saturday, July 25th, 2 to 4pm. Regular hours are Tuesday through Saturday from 12pm to 5pm. For more information, visit: https://www.tapcreativity.org/events/salon-des-refuses
By Beth Stewart
Beth Stewart is a writer, educator, and visual artist. She has a B.A. and a B.Ed. from the University of Windsor and a Diploma in Art Therapy from Western University. Beth has worked as an Art Therapist with Canadian war veterans and as a Secondary School Teacher of art and English for the TVDSB. She retired in 2024.
Beth was the arts editor at Scene Magazine from 2004 to 2006. She founded Artscape Magazine in 2006 and served as its editor until 2008. In addition, Beth wrote on the arts for Lifestyle Magazine from 2006 to 2017 and served as the copy editor for The Beat (in print) from 2009 to 2013.
As a visual artist, Beth works mainly in dry media and favours coloured pencil. Over the past decade, Beth’s focus has been on wild and domestic birds. Beth is a member of the Coloured Pencil Society of America, the Gallery Painting Group, the Eclectic Collage Collective, the Lambeth Art Association, and a founding member of the Coloured Pencil Artists of Canada group.
This is the seventh in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Belinda J. Clements profiles life partners and award-winning creative collaborators Shane Wilcox and Kim Doerr, founders of Studio Shim.
(Pictured: Kim Doerr and Shane Wilcox. Photo by Belinda J. Clements.)
Who We Are
Shane & Kim: Life partners and award-winning creative collaborators for over 26 years. Together, we founded Studio SHIM in 2016 to bring intentional art directly to people and support us through one of many transitions in our lives.
Shane: Specializes in both physical and digital mediums, creating canvas paintings, highly detailed portraiture, custom murals, professional graphic design, and original music under the moniker TaToE.
Kim: A multidisciplinary artist and eco-jeweler who manages Studio http://studioshim.ca/ and all our socials. She paints live with commUnity, and ensures every experience feels welcoming and intentional.
A completely direct connection: No agents or automated bots in the middle. When a client or supporter sends a message to Studio SHIM, we are the ones reading and replying.
(Pictured: London International Airport. Supplied by Artists.)
2. Who We Are For
Conscious-minded people, businesses, & dreamers who care about how their environment and brand feel, and want visual art, portraits, design, and soundscapes that carry a meaningful, restorative energy.
Art lovers and collectors who crave a direct, tactile connection to real creators, not AI, and are looking to support ethical, slow-made art and independent Canadian music.
(Pictured: Shane Wilcox and Kim Doerr. Photo by Belinda J. Clements.)
3. What We Do
The Monthly Mail Club: The new creative release. Each month, we curate and ship exclusive, physical, first-edition art pieces directly to members’ mailboxes or, as requested, now digitally too. These pieces are only made available to the public on the website after Mail Club members receive their physical packages. Begins in August after the Earth Song Festival. The paintings captured by Belinda on unstretched canvas will be the first 6 months and have never been shared until now.
Custom Murals, Portraiture & Graphic Design: Transforming physical and digital spaces with our vibrant, large-scale custom murals, detailed portraiture, graphic design, and branding.
Original Music by TaToE: Ambient electronic soundscapes and live PA sets that serve as the sonic foundation for our entire creative universe.
Wearable Art & Eco-Fashion: Original paintings transformed into premium, slow-made apparel. Proudly manufactured in Montreal, QC (standing firmly in the 3% of apparel still made in Canada), our clothing is 100% sweatshop-free, chemical-free, and printed on fabrics with solvent-free inks.
Lunar Bliss Gatherings: Alcohol-free experiences that pair with live, improvised music by TaToE with Kim’s meditations, live creation, and intentional space-holding for offline connection. Showcases local co-creators and beyond.
( Spectrum of Imagination with Crouch Library/Crouch Neighbourhood Resource Centre, Supplied by Artists.)
4. The Heart of It (Why It Matters)
A living frequency: We believe art is energy. Well, everything is energy. From the positive vibes sewn into our Canadian-made garments to the grounding vibrations of TaToE’s music, everything we create is designed to help people feel lighter, calmer, and more present.
Sensory grounding in a loud world: In a screen-heavy, fast society, we offer something else. Through our visionary art, slow fashion, and ambient soundscapes and commUnity building, we create a space for people to breathe.
Community over commercialism: This is a decade-long, living connection. Whether wearing our art, listening to a synth bath, attending a Lunar Bliss gathering, or opening a monthly mail, you are joining a warm, supportive family built on slow creation and genuine connection.
(Pictured: Shane Wilcox and Kim Doerr. Photo by Belinda J. Clements.)
To learn more about Shane Wilcox & Kim Doerr and Studio Shim, visit:
This is the sixth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Beth Stewart profiles Visual Artist Derek McLarty.
(Pictured: Derek McLarty, “Underwood”, oil on canvas, 24 by 30 inches. Image courtesy of the artist.)
Derek McLarty paints everyday items that have acquired a certain patina as the result of their journey through time. He describes his art as a reaction to our disposable society. His subjects are often analogue objects from a time when we did not “gorge our landfills” with items whose only crime is to have fallen out of fashion. Examples are a black rotary dial phone and a quintessential Underwood typewriter.
His works evoke nostalgia as well as admonishment. He explains, “For viewers, there may be a certain nostalgia in seeing objects that they remember from childhood, but that is not my purpose. I aim to remind viewers of objects that have disappeared from everyday life to draw attention to society’s rampant consumerism.”
While he uses a representational style, he is not a slave to creating a photographic representation of his subjects. He purposely leaves visible brushstrokes and uses an “economy of marks”. He explains, “Leaving traces of the artist’s hand reminds the viewer [a painting is] human-made – rather like many of the objects represented”.
(Pictured: Derek McLarty, “Land Line version 2”, oil on canvas, 16 by 20 inches. Image courtesy of the artist.)
His drive to create is complicated. McLarty admits there is a certain satisfaction in mastering the formal aspects of painting – creating a pleasing composition, choosing colours effectively and even the craft of creating an effective illusion of reality. He also finds that painting is an effective method of communicating his dissatisfaction with society’s “addiction” to “the new, the shiny and the fashionable”.
McLarty is involved in the annual London Artists’ Studio Tour, and his work can be seen in Museum London’s shop as well as at Westland Gallery. In addition, he displays work at Marten Arts Gallery in Bayfield, in the annual Paint Ontario show, and more recently in the Summer and Grace Gallery in Oakville.
His work “Perfect Mason” is a finalist in the 2026 Kellogg’s Art Competition.
(Pictured: Derek McLarty, “Ball Mason Jar”, oil on canvas, 24 by 16 inches. Image courtesy of the artist.)
To learn more about Derek McLarty, visit www.derekmclartyart.com / Facebook: Derek McLarty / Instagram: @derekmclaryswork / Pinterest: DerekMcLartyArt
This is the fifth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Beth Stewart profiles Visual Artist Ryan Boris Hamilton.
(Pictured: Ryan Boris Hamilton, “Woman in Glasses”, mixed media on birch wood panel, 40 by 30 inches. Image courtesy of the artist.)
Ryan Boris Hamilton is primarily a portrait and figure artist, but he explores other subjects as well. While his work varies in style, it typically starts with an acrylic base to which he adds mixed-media elements, such as drawing, wallpaper and fabric. Through layering colours and textures, he finds new ways of “framing” his subjects.
He has now worked as a professional artist for 25 years and has shown across Canada.
The BealArt graduate, who specialized in classical painting techniques, printmaking and sculpture, has lived in Toronto and Vancouver before returning to London. While in Vancouver, he wrote and illustrated a book of poetry. “The Lark, the Trees, the Stars and Me” (2012) is available on Amazon.
(Pictured: Ryan Boris Hamilton, “Woman in Hat”, acrylic on birch wood panel, 24 by 18 inches. Image courtesy of the artist.)
Hamilton has a natural urge to create. He pushes himself to the limit and strives to make each finished piece a “favourite” that must then be surpassed.
He says portraits are challenging as small mistakes have a huge impact. Consequently, it is rewarding when he nails it, and clients are thrilled with portraits of loved ones.
Hamilton was recently part of the London Artists’ Studio Tour. He is an Ontario Arts Council grant recipient and is presently working towards a solo show of his work from the last five years.
Ryan Boris Hamilton is currently in the top 100 for the 2026 Kellogg’s Art Competition. His mixed media on birchwood panel “Man on a Bench” invites viewers to engage with the subject. The figure looks off at something unseen that prompts him to smile, whilst the background is a busy and playful mix of patterns, textures, fabrics and shapes.
(Pictured: Ryan Boris Hamilton, “Man on a Bench”, mixed media on Russian birch wood panel, 36 by 24 inches. Image courtesy of the artist.)
Beth Stewart is a writer, educator, and visual artist. She has a B.A. and a B.Ed. from the University of Windsor and a Diploma in Art Therapy from Western University. Beth has worked as an Art Therapist with Canadian war veterans and as a Secondary School Teacher of art and English for the TVDSB. She retired in 2024.
Beth was the arts editor at Scene Magazine from 2004 to 2006. She founded Artscape Magazine in 2006 and served as its editor until 2008. In addition, Beth wrote on the arts for Lifestyle Magazine from 2006 to 2017 and served as the copy editor for The Beat (in print) from 2009 to 2013.
As a visual artist, Beth works mainly in dry media and favours coloured pencil. Over the past decade, Beth’s focus has been on wild and domestic birds. Beth is a member of the Coloured Pencil Society of America, the Gallery Painting Group, the Eclectic Collage Collective, the Lambeth Art Association, and a founding member of the Coloured Pencil Artists of Canada group.
The Beat Magazine 2025’s roving photographer, Rudy Graf, was at Anne of Green Gables Day at Fanshawe Pioneer Village on Sunday, July 12, and filed these photos of best friends Anne (played by Catherine Kelly) and Diana.
Throughout the day, there were different events, including story reading with Anne and Diana, Raspberry Cordial making, and Miss Stacey had school at noon.
The Beat Magazine 2025 