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C A N N O P Y

Art is True North

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Hubs & Huddles column of Cannopy Magazine, which focuses on multi-purpose performance centres
Ensemble column, which highlights classical artists and ensen, which highlights classical artists and ensembles
Ellington column, which features jazz vocalists and instrumentalists
Studio Sessions column, which focuses on in-depth artist profiles — particularly visual artists in their creative spaces
Materials column, which focuses on artists working across various creative media; Profiling Various Creative Media
Spaces column, which highlights galleries anSpaces column, which highlights galleries and exhibit venuesd exhibit venues
Fourth Wall column, which focuses on the global theatre industry
In Motion column, which focuses on the global dance industry
In Focus column, which highlights the global film industry
Alt.itude column, which focuses on global alternative music
Homegrown column, which highlights Canadian alternative music
Arts & Letters column, which focuses on essays, opinions, and ideas related to the arts

MATERIALS

Materials; Profiling Various Creative Media

PROFILING VARIOUS CREATIVE MEDIA — From organic matter to ink, metal and beyond MATERIALS finds the art in everyday items.

Xavier Dolan by Shayne Laverdière
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Silly Ceramics and Calaca’s Creatures

ISSUE 15 | PARIS | MATERIALS

“I rarely need to explain myself: this is a blue elephant, he wears a cylinder and smokes a pipe ─ what is unclear here?”

Xavier Dolan by Shayne Laverdière
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FLOWERS: Rebecca Louise Law

ISSUE 12 | TYWYN | MATERIALS

How floral sculptures open the door to the “third place”

Xavier Dolan by Shayne Laverdière
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TEA: Hiba Schahbaz

ISSUE 15 | BROOKLYN | MATERIALS

INTERVIEW — Meet the Pakistani-American painter infusing her female figures with a unique stain: black tea

Xavier Dolan by Shayne Laverdière
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Upcycling: Harford House

ISSUE 13 | MATERIALS

Carina Harford on the “luxury of immediacy”

Xavier Dolan by Shayne Laverdière
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BODY: Cassils

ISSUE 14 | LOS ANGELES | MATERIALS

INTERVIEW — “What better way to push for trans presence and historical archives than to burn images of trans people into the eyes of cis beholders?”

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