Umbrella Spring 2026

What's Under the Umbrella?

o Cirque Kalabanté

o Indigenous Art Show

o QAC's RISE Exhibition

Janet Jarrell, Executive Director janet@quinteartscouncil.org

Andrew Gray, Program Director drew@quinteartscouncil.org

Kim Lidstone, Bookkeeper qac@quinteartscouncil.org

Graphic Design: Drew Gray

The Quinte Arts Council is a notfor-profit, charitable organization, registration number 107869448 RR 0001. Published by: The Quinte Arts Council, P.O. Box 22113 Belleville, Ont. K8N 2Z5.

Material may be reprinted only with permission. Umbrella is available in digital format through Issuu. The information contained within is believed to be reliable, but accuracy cannot be guaranteed. We do not assume responsibility for any errors and/or omissions related to submitted content.

Spring is a season of renewal—of light returning, of ideas taking shape, and of creative voices rising with renewed energy. As I reflect on this issue of Umbrella, I am struck by the powerful thread that connects each story: the act of sharing—of giving voice, giving space, and giving time to creativity in all its forms.

Across our region, artists continue to explore what it means to be connected—to place, to culture, to one another. Whether through the deeply personal storytelling of writers, the bold visual language of contemporary artists, or the collaborative spirit of musicians, performers, and educators, we see again and again that creativity is not a solitary act. It is something built together. It is what connects us all.

This issue celebrates that shared momentum. We see it in exhibitions that centre equity and amplify diverse perspectives. We see it in performances that challenge us to listen more closely—to stories, to one another, and to ourselves. We see it in community spaces where people are empowered to create, experiment, and express. And we see it in the quiet dedication of artists who continue to observe, document, and interpret the world around them.

There is also a sense of continuity—of tradition carried forward. From Indigenous artists grounding their work in cultural knowledge and connection to the land, to emerging voices finding new ways to tell stories, we are reminded that creativity is both inheritance and evolution.

At the Quinte Arts Council, we know that the arts are essential to a vibrant, healthy community. They invite dialogue, foster understanding, and create spaces where all voices can be heard. They ask us not only to imagine a better world, but to actively participate in shaping it.

As we move into this new season, I invite you to engage—attend a performance, visit a gallery, support a local artist, or simply take a moment to notice the creativity that surrounds you every day. When we invest in the arts, we invest in each other.

Together, we continue to grow, to connect, and to rise.

Quinte Arts Council

Welcome to the QAC: Crystal Clark and Temi Olode

Meet You at the Root: Return to Origins

Photography

Greg Teal

Music

Reverberations of Cirque Kalabanté

Happy Ghost Gang

Brian Legere: A Life in Jazz

Fine Arts

Interconnectedness through Indigenous Art

Chris Finkle: The Art of Everyday Scenes

Theatre

Belleville Theatre Guild presents 7 Stories

Craft

Wanda Elliott: Hooking Memory, Place, and Tradition

The Legacy of Farley Mowat

CABHC: A Lens on Local History

Arts Education

Watercolour in the Woods supported by the QAC arts education program

Quinte Arts Council

RISE: Because We Are Equal, QAC celebrates 8th annual exhibition

Welcome to the QAC!

Crystal Clark is a strategic arts leader, educator, and creative producer based in Belleville. She is the Director of Ontario Dance Academy and Quinte Youth Theatre, where she leads program development, production planning, marketing strategy, and community engagement initiatives.

With a background in financial services and wealth management, Crystal brings strong business acumen to her arts leadership. She holds a Diploma in Advertising & Marketing Communications from Loyalist College and combines creative direction with operational strategy to support sustainable arts programming.

Crystal works with Loyalist College and has supported projects through the Applied Research Centre for Healthy Communities, creating accessible visual communications for community and institutional stakeholders.

Under her direction, Ontario Dance Academy has expanded its programming and competitive presence, while Quinte Youth Theatre provides free, inclusive musical theatre opportunities to youth across the region. She is passionate about building accessible arts experiences that foster confidence and creative growth.

As a Director on the Quinte Arts Council Board, Crystal brings experience in arts administration, marketing strategy, financial oversight, and community-focused program development.

Temi Olode is a student at Nicholson Catholic College with a growing passion for the arts and community involvement. As a volunteer with the Quinte Arts Council, Temi actively contributes to supporting and strengthening the local arts community while gaining valuable hands-on experience.

Inspired by the groundbreaking work of Pablo Picasso, particularly his ability to deconstruct and reinterpret reality, Temi is drawn to creative exploration and artistic experimentation. The broader arts community also serves as an important source of motivation and inspiration, reinforcing a deep interest in diverse forms of expression.

Through ongoing involvement in the arts, Temi is developing confidence in technical and artistic skills, strengthening communication abilities, and building meaningful connections within the creative community. Dedicated to personal growth and collaboration, Temi values the role of the arts in fostering engagement and shared experience.

Looking ahead, Temi hopes to continue exploring a wide range of creative pursuits, including acting and culturally diverse art forms. With a strong interest in projects that create positive community impact, Temi is committed to using creativity as a tool for connection, expression, and meaningful change.

CHASE

CHA

MeetYouattheRoot: Return to Origins

By QAC Team

In the Quinte Arts

Council’s Cultural Hub and Gallery, artist Chase Cha (Carr-Braint) invited viewers into a deeply personal moment of reflection with his exhibition Meet You at the Root. The series of drawings captures a period of transition in the artist’s life— one shaped by questions of belonging, family, and the search for stability.

Cha’s artistic practice blends performance, duration, and improvisation.

Influenced by the extended durational performances of Hsieh Teh Ching, the fluid figural expression of Kim Jung-Gi, and the structural explorations of Pablo Picasso, Cha’s work carries a sense of immediacy and inquiry. Through what he calls “Adlib Aesthetics,” Cha often creates without visual references, allowing instinct, time, and gesture to guide the process. Working primarily with spray paint and mark-making, his practice emphasizes presence, movement, and the unfolding of thought in real time.

Meet You at the Root emerged during a pivotal chapter in Cha’s life. In 2023, the artist returned to Belleville with his wife and children, hoping to rebuild a life in the city where he had spent his high school years and where previous generations of his family had lived. After more than a decade teaching visual art and contributing to art communities across China and Taiwan, the move represented a return not only to place, but to personal history.

Yet the transition proved challenging. Finding employment was difficult, and Cha eventually began a tattoo apprenticeship at LoneWolf Tattoo Co., learning a demanding new craft while supporting his family. During this time, he continued to produce art and engage with the Belleville community, including presenting a solo exhibition titled ThisMidlifeCrisis at the John M. Parrott Gallery.

The drawings that make up Meet You at the Root were created during Cha’s final months in Belleville before another major life shift. Rendered in black oil pastel on white paper, the works were sketched amid the emotional tension of preparing to leave once again—this time relocating to Hangzhou, China, where his wife accepted a teaching position.

In many ways, the exhibition embodies the meaning of its title. The “root” becomes both literal and symbolic: a return to family history, a grounding in identity, and a recognition that the search for belonging is rarely linear.

Now living between Belleville, Canada and Hangzhou, China, Cha continues to explore questions of presence, resilience, and creative instinct. Through these drawings, viewers encounter an artist in motion—navigating uncertainty while remaining anchored by the enduring pull of where he began.

Amalgamating the durational performances of Hsieh Teh Ching, the stream-of-consciousness figuration of Kim Jung-Gi, and Pablo Picasso’s synthesis of visual form, 老茶 Chase Cha explores contemporary questions of being and potential.

Primarily a performance artist working within extended durational aesthetics, Cha expresses his self-termed “Adlib Aesthetics” through a practice that forbids visual references while working with spray paint. His work engages with duration, space, and improvisation.

Cha lives and works between Belleville, Canada, and Hangzhou, China.

Chase Cha

Greg Teal

is a local photographer who spends much of his time exploring Belleville’s trail system, uncovering the interesting and abstract within the everyday. Drawn to the beauty of decay and the geometry of the mundane, his work captures quiet, unexpected moments in familiar places.

Teal purchased his first camera at age 15 and has been capturing images ever since. Most recently, his work was featured as “Artist of the Month” at Meyer’s Creek Brewing Company.

Greg Teal

Reverberations of Cirque Kalabanté

By Christina Akrong

Celebrating African

heritage on Valentine’s Day made for a vibrant night out in Belleville, as Cirque Kalabanté brought their electrifying blend of music, dance, and acrobatics to Centennial Secondary School’s auditorium. Gravity-defying pyramids, heart-stopping flips, and moments of humour kept audiences on the edge of their seats. The performers’ interactive

energy made the experience especially memorable, with audience members even joining in on the live action on stage—wow!

Travelling from Montreal, with most performers originally from Guinea, Cirque Kalabanté’s show draws inspiration from daily life in Guinea, capturing the joyful energy and strength of young Africans.

Presented by the African Arts Institute, the concert was part of the series “Africa and the World,” which highlights both African performing artists and local artists from diverse cultural backgrounds. Opening the evening was Jennifer E. Brant of Tyendinaga, performing alongside her partner Kieran Edwards on acoustic guitar. Her new album, Resilience, features original songs inspired by Kanyen’kéha language, culture, and traditions.

Also featured were Ruth Mathiang, originally from Sudan, and Kobena Aquaa-Harrison, of Bermudian and Ghanaian descent. Mathiang’s powerful vocals carried songs expressing a longing for social justice, the ongoing fight for equality, and the dream of world peace. The evening’s MC, Nana Yaa Yeboaa, echoed these themes through her own work as a poet, children’s author, and podcast producer.

The ISABELLA drumming group brought together community members of all ages who participate in Isaac Akrong’s Friday night drop-in sessions at the Quinte Arts Council’s Community Hub. Their performance showcased West African rhythms learned over recent months, adding another layer of energy and connection to the evening.

The Institute’s President, Isaac Akrong, will also lead a course titled West African Drumming: Technique, Ensemble, and Cultural Context. During the concert, audiences were introduced to the sounds and rhythms of talking drums through mnemonic phrases like, “BA

BA BI BA BIBI BABIBA DIN DIDI DINDIN DIN,” creating an engaging and immersive learning moment.

This event was made possible through the support of the City of Belleville, Canadian Heritage, the Algonquin and Lakeshore Catholic District School Board, and the Hastings Prince Edward District School Board. As one audience member shared, “Loved the variety of acts, and each one was amazing!”

The African Arts Institute, a Belleville-based non-profit charitable organization, continues to build momentum through its ongoing concert series. Upcoming programming includes Drum Summit in June, a free outdoor event at Zwick’s Park Lions Pavilion, featuring both a live concert and an interactive drumming circle where audiences are invited to participate—bring your own drum or join in with one provided.

African Arts Institute

Cirque Kalabanté

Photography by Jason Brown

The Happy Ghost Gang

By Greg Teal

On any given night

in Belleville or the surrounding region, audiences might hear a familiar song transformed into something unexpectedly intimate. A rock anthem might slow to a gentle acoustic pulse, or a folk tune might swell with layered harmonies that linger long after the final note. That ability to reshape music into something personal has become the signature of The Happy Ghost Gang, the musical duo of Ben Thompson and Jess Chatterton.

The pair first crossed paths when Ben was looking to record a few cover songs online and needed a female voice. He had heard Chatterton sing around town and reached out to see if she would be interested. She agreed, and the two began by recording a cover of Dust to Dust by The Civil Wars. The experience sparked something for both of them. What began as a single collaboration quickly turned into an ongoing musical partnership.

Both musicians arrived at the project from different backgrounds. Thompson had been playing guitar since he was thirteen and spent years performing in various rock and punk groups. Chatterton’s musical roots, meanwhile, were shaped by the church scene, where she sang in quartets, competed in singing competitions, and performed as part of church music teams. As her path shifted away from that environment, the desire to keep singing remained strong. The Happy Ghost Gang offered the perfect outlet.

Their performances now blend classic folk and rock covers with a growing catalogue of original songs, though even the covers rarely remain in their original form. For Thompson, part of the appeal lies in taking a familiar track and pulling it apart to rebuild it in a way that fits the duo’s sound. Chatterton adds that the pair draw inspiration from a wide range of genres, often experimenting with songs that never make it to the stage. Those that do tend to share a few qualities: powerful vocal moments, layered harmonies, and a flexibility that allows the arrangement to bend into their style.

The duo’s early days performing together came with a few lessons. Their first show, Thompson recalls with a laugh, took place at a rather questionable venue with terrible sound and a setlist that was still finding its shape. The performance itself was rough, but the experience proved valuable. It gave them a clearer sense of what they needed to succeed on stage and helped them refine their approach moving forward.

That easygoing attitude still defines their performances today. Both musicians emphasize that they try not to take themselves too seriously. If a song or moment doesn’t quite work, they move on and keep the energy light. That sense of authenticity has helped audiences connect with the band, creating shows that feel less like formal concerts and more like shared experiences.

A typical set includes a mixture of covers and original material. The duo currently rotates around ten original songs into their performances, often weaving three to five of them into each show alongside their covers. Sometimes the transition between the two is subtle enough that listeners don’t immediately realize a

song is original and that is something the band especially enjoys.

Songwriting for The Happy Ghost Gang is a collaborative process, though it often begins in different ways. Thompson may start with chords or a full demo, while Chatterton tends to write without instruments, capturing ideas late at night in voice notes on her phone. A lyric, phrase, or fleeting thought can spark an entire song. When they bring those ideas together, the music gradually takes shape through rehearsal and experimentation.

The most meaningful moments for the band often come from audience reactions. Thompson says encores are always a good sign that a show has connected. Chatterton, meanwhile, treasures the stories listeners share afterward like memories sparked by a particular song, or the emotions that surfaced during a performance. For her, music is deeply tied to the emotional experience, and hearing that a song moved someone else in the same way is one of the most rewarding parts of performing.

Looking ahead, the duo continues to write and record new material. Several songs are currently in the mixing stage, and more are always in the works. But for The Happy Ghost Gang, the focus remains simple: one show at a time, letting the music lead the way.

A Life in Jazz

By Greg Ceci

It's often said that jazz

is one of the highest forms of musical expression—rooted in the gathering of creative musicians who listen closely to one another, improvising in response to what they hear. It’s a language shaped by the study of jazz standards, though most musicians don’t begin there— they grow into it over time. Brian Legere is no exception.

Born into a middle-class family in Hamilton, Ontario, Legere’s earliest exposure to music came from his mother singing in the kitchen. She also played harmonica and shared stories of busking with her brother. The radio further fuelled his musical curiosity, introducing him to a wide range of genres, from rock and rhythm and blues to country and jazz.

When asked about his early influences, he reflects: “Glen Campbell, The Beatles, Led Zeppelin and Jim Hendrix. The guitar was the most popular instrument in my youth… and I got hooked.”

Legere began playing at the age of ten on a Hawaiian, or lap steel, guitar before transitioning to a standard guitar. He formed a band and performed his

an experience that remains one of his most memorable. Like many musicians, his growth was shaped not only by practice, but by playing alongside more experienced performers who helped guide his development.

He later moved to Toronto, where he became a highly sought-after guitarist, performing with artists such as Martha Reeves and the Vandellas, Guido Basso, Dave Young, Russ Little, Liberty Silver, Jackie Richardson, Michael Dunston, Harrison Kennedy, Carol Welsman, and David Foster. He has also opened for James Brown, Glen Campbell, Hall and Oates, Randy Bachman, and Burton Cummings.

A life in music, Legere acknowledges, is a continuous journey—one defined as much by learning as by performing. “I believe we should be constantly working on all the main elements of music: rhythm, harmony, melody, tone, intonation and dynamics,” he says.

of an arranger and composer than a songwriter, Legere has written music for television and other projects. Still, the greatest joy remains performing live. With decades of experience, he continues to play throughout Prince Edward County and the surrounding region with The Brian Legere Quartet and his acoustic duo, Legere & Smit.

Another hallmark of jazz is the passing of knowledge from one generation to the next. Legere’s passion extends into his work as an educator, having served as a music director and teacher at both the college and high school levels. His advice to aspiring musicians is simple: “Study, practice, play on stage as often as possible—and be a nice person to work with.”

Audiences can experience Legere’s music live at venues throughout the region, including Belleville Jazzlicious 2026 where jazz continues to thrive through

Interconnectedness through Indigenous Art

By Jennifer Shea

Interconnectedness

was reflected in the work of seven local artists featured in this year’s Indigenous Art exhibition at Gallery 121. With a smaller, dedicated group of artists, Maureen Swann of the gallery notes, “I felt all of them were speaking very personally (through their art). People were quite impressed, I think because it seemed to have more emotional content this year.”

Mohawk artist David R. Maracle, from Tyendinaga Mohawk Territory, describes himself as both sculptor and musician—working with strings, percussion, and wind instruments, often reciting his own poetry alongside his music. He speaks to the importance of sharing both the work and the stories behind it with the broader community.

“The more we research the arts and the more we research these (ancestral) stories, it evolves more in our artwork— our sculptures, paintings, jewelry—to want to make things look beautiful; to want to make people see us as beautiful people for what we have and what we gave in the beginning.”

Many of Maracle’s works are held in collections around the world. “I have a lot

of people who love my art because they believe in the stories and how I try to project our people into the light and show the goodness that we missed out on because of colonization. It forces me and other artists I know to dig a little deeper because we want the story told without a protest. Our art is a protest. You buy our art and put it on your wall, then you’re our ally.”

Janice Brant is a Kanyen’kehá:ka (Mohawk) artist from Tyendinaga Mohawk Territory, deeply connected to her community and culture. She works across a wide range of mediums, incorporating natural materials such as walnut ink, birch bark, and plantbased fibres alongside paint on paper, canvas, leather, and wood. Inspired by the

Brant, Ahatihentayentho TheyWillPlantTheField

natural world and the teachings of the Rotinonhson:ni/Six Nations Confederacy, her art and writing reflect a lifelong practice. Her work is held in private and public collections across Canada.

Kanyen’kehá:ka heritage and tradition are central to Jennifer Brant’s music and songwriting. Raised on her family farm in Tyendinaga Mohawk Territory, her early life blended farm work with cultural teachings, language, and music. Influenced by family, community, and traditional songs, Brant developed a voice rooted in storytelling and connection to the land. Today, her work reflects a deep respect for culture, the natural world, and the responsibility to share both.

Suzanne is a Mohawk artist from Tyendinaga Mohawk Territory on the Bay of Quinte. A visual artist and author, her work is grounded in the preservation of Indigenous knowledge, particularly the relationship between culture, the natural environment, and traditional plant teachings. Her practice reflects decades of learning, storytelling, and sharing knowledge through both visual and written forms.

Allison Lynn is a Tyendinaga-based multidisciplinary artist whose practice spans installation, textile, sculpture, printmaking, and mixed media. With a distinctive, high-contrast style and use of nostalgic materials, her work explores connections between past, present, and future, often reflecting her Haudenosaunee heritage.

A Haudenosaunee artist and traditional medicine healer, Rebecca Maracle creates work rooted in respect for Mother Earth and the teachings of her people. Through her traditional designs, she shares cultural knowledge, healing, and connection to the natural world. Her work, held in private collections internationally, reflects a deeply spiritual practice—each piece created with intention, meditation, and a focus on bal-

ance across the physical, mental, emotional, and spiritual.

Tyler Tabobondung Rushnell (Miskwaa Ma’iingan) is an Ojibwe, Scandinavian, and Irish artist from Wasauksing First Nation whose work is inspired by the Woodland style. Known for his bold colours and symbolic imagery, his paintings explore the sacred relationship between nature and humanity while developing a distinctive, contemporary visual voice. Rushnell is also the artist behind the Toronto Maple Leafs Indigenous Celebration game warmup jersey and logo.

The Indigenous community’s deep connection to, and respect for, Mother Earth is evident throughout the exhibition—expressed through imagery of animals, natural landscapes, flowers, and plants. There is growing interest in Indigenous art, along with the meaningful connections forming with emerging Indigenous artists—voices expected to continue gaining prominence in future exhibitions.

Ohén:ton Karihwatéhkwen, a traditional Haudenosaunee opening and closing address, expresses gratitude to the natural world and brings people together. It feels

especially fitting in the context of Indigenous art—a reminder of the interconnectedness of all life, reflected beautifully in the works on display.

The Art of Everyday Scenes

By Greg Teal

In a quiet home studio

in Belleville, painter Chris Finkle spends his time chasing moments. Some are expansive—sailboats resting in the stillness of an early morning harbour. Others are more intimate: a musician lost in a song, skaters playing shinny on a frozen harbour, a family portrait, or a rain-soaked street. For Finkle, painting is less about spectacle and more about capturing the emotion beneath everyday scenes.

Finkle works primarily in oil, a medium he embraced in 2012 while studying at the Jesus Estevez Art Academy. It quickly became his preferred medium. Oil paint, he explains, offers a depth and richness that others struggle to match. Its slow drying time allows for blending and layering that create luminous transitions and subtle atmospheres, giving him the space to refine each piece as it evolves.

His process is both methodical and expressive. Finkle often begins with the

grid method, transferring his subject onto a primed canvas or board with careful accuracy. He then builds an underpainting to establish key values—light, medium, and dark—that shape the final image. From there, the work becomes more fluid, as colour matching, blending, and fine detailing gradually bring the scene to life. By the final varnish, the painting has moved from careful structure to expressive finish.

His palette reflects this thoughtful approach. Warm colours line one side,

cooler tones run along the top, and titanium white sits between them. Rarely does he use colour straight from the tube, instead mixing each shade to suit the needs of the painting.

Despite his technical precision, the heart of Finkle’s work lies in its emotional pull. He describes his paintings as “quiet timelines”—moments that carry personal meaning. A scene may seem simple at first glance, but he hopes viewers will recognize something

of their own within it. If a painting invites someone into a memory, he considers it a success.

Finkle draws inspiration from the masters. He admires Rembrandt and Leonardo da Vinci for their use of light and attention to detail, particularly in hands and drapery. From Vincent van Gogh and Claude Monet he embraces expressive brushwork, while Andrew Wyeth has influenced his sense of perspective. These references merge with his own instincts, resulting in a style that balances realism with energy.

Among his most meaningful works are portraits of his own family, each carrying, as he describes, “a piece of his heart.” A recent highlight is a painting of sailboats moored in Victoria Harbour at dawn, capturing a moment of quiet stillness. The piece is currently on display at the Ontario Legislature as part of a spring showcase featuring one hundred Ontario artists.

When he’s not running his family business, Finkle Electric, he continues to sketch, attend life drawing sessions, and spend time in the studio with music playing in the background. Looking

ahead, he hopes to work on a larger scale and take part in more plein air painting excursions.

For those considering painting themselves, his advice is simple: “Try.” The biggest obstacle, he believes, is often the voice that says you can’t. He remembers feeling the same way once. Picking up a brush changed that. Sometimes, the most important step is simply beginning.

Chris Finkle

Some people, like

Morris Panych, are natural storytellers. In early February, the Belleville Theatre Guild (BTG) brought his play 7 Stories to life under the direction of Ian C. Feltham—a production the company had long hoped to stage. First produced in British Columbia in 1989, this marked its debut performance in Belleville.

Feltham’s connection to the work runs deep. “I had the opportunity to act in a production of 7 Stories some 25 years ago when I was living in Labrador. The play has always interested me with its surreal premise and lively storytelling.”

At its core, the play asks a deceptively simple question: what is a story? It’s a series of connected moments, shared from one person to another, that helps us understand what it means to be human. A story requires both a teller—and someone willing to listen.

In 7 Stories, that dynamic unfolds on a seventh-floor ledge, where the central character—simply known as the Man— listens as a parade of characters share their lives, their thoughts, and their

7 Stories

By Lise Lindenberg

peculiar truths. Early encounters are one-sided, but as time passes, the Man begins to ask questions—and, in turn, is finally heard.

The leap he is encouraged to take is not just physical, but imaginative.

Portrayed by Belleville stage newcomer David Simkins, the Man ultimately reveals his reasons for being perched so high above the ground. His lengthy reflection is met with a sharp, almost startling response from a 100-yearold woman, played by Vickie Williams: “You didn’t need to make such a long speech. When you’re a hundred years old, you’ll understand everything. And then you’ll die.”

It’s a turning point. Until then, the stories seem to drift past him without meaning. But this encounter—alongside the presence of her misanthropic nurse, played by Sarah Winn (who also painted the set)—pushes him toward something deeper. The leap he is encouraged to take is not just physical, but imaginative. As Feltham explains, “We finally see a decision will be actioned. Ultimately, it is realized in a surreal and dreamlike fashion.”

With a cast of 13, the production required a careful balance of timing, energy, and attention. “The large cast each have to weave stories that will hold the audience’s interest and attention in the often brief moments on stage,” says Feltham. “It really has been an exercise in listening and trying to keep the characters real in often absurd situations.”

Behind the scenes, Stage Manager Shannon Lochhead played a vital role in keeping the production on track. “A stage manager like Shannon has been so valuable to keep the entire team focused on our goal to provide an authentic rendering of Panych’s script,” Feltham notes.

The BTG’s production also took part in the Eastern Ontario Drama League (EODL) full-length play festival, joining entries from across the region. Adjudicator Carolee Mason attended a performance and offered feedback to the cast and crew, highlighting the production’s pacing, vocal clarity, airy visual palette, and thoughtful support of the script.

With awards presented annually across categories including acting, directing, and design, the results will be revealed at a spring gathering. For the cast and crew of 7 Stories, there’s every reason to be hopeful—after all, sometimes seven really is a lucky number!

Hooking Memory, Place, and Tradition

By Scott Williams Madoc

I

t was 2015 when

Wanda Elliott began rug hooking—or “matting,” as her mother called it. She had just retired from a successful career teaching kindergarten and grade one. “When I went home that summer after retiring, I hooked my first little mat – an 8 x 8 of a house that a friend drew for me –and I've been doing it ever since.” Elliott speaks with a light accent, a gentle lilt that is unmistakably Newfoundland— softened, but not dimmed, by her years on the mainland.

We’re speaking in Elliott’s studio—a small, sun-drenched room on the second floor of the century home she shares with her husband Garry and their dog, Mojo. “This is my space, my little nook. I spend a lot of time in here, especially in the winter.” There’s a sense that Elliott’s art offers solace, just as her studio serves as a refuge. “I get lost in it,” she says. “Sometimes I think it keeps me sane.”

The studio is barely large enough for Elliott and the dog, but she is far from alone. In fact, she maintains a remarkably social craft life—perhaps an echo of

the close-knit Newfoundland culture in which she was raised. “I'm up here by myself, but I'm hardly ever alone. I'm either doing a course, or doing Zooms with Deanne (Fitzpatrick from Amherst, Nova Scotia – Elliott’s instructor and mentor), or I'm on FaceTime hooking with Bonnie or Rowena”—two of a group of half a dozen lifelong friends. “We started school together and finished school together, and we're just as good friends now as we were in high school.”

Elliott’s discovery of hooking in retirement marks both a return to family tradition—her mother, aunt, grandmother, and great-aunt were all rug makers—and a reconnection to a craft deeply rooted in Newfoundland history. In northern communities,

Family threads through all of Elliott’s work, as it has from the beginning.

hooked rugs were not only a source of warmth but also a form of trade. Elliott recalls her great-aunt Delphy, working in the kitchen—“because it was the only room with heat – that’s where the stove was!”—hooking rugs for the Grenfell Mission, a medical facility established in the late 1800s by Sir Wilfred Grenfell. Finished rugs were exchanged for essential goods and supplies. “The women all used the same patterns, and they’re very recognizable: dog teams, children

playing with Grenfell coats on, seal, whales, icebergs.”

Winter appears often in Elliott’s work, but water is her most enduring theme. Her first major exhibition, Gotta get back to the water, was held at Trenton’s

These 4 Walls gallery in April 2024. Curator Brandy Calvert Ringelmann recalls her reaction: “I was knocked off my feet. It was shocking how interesting it was. I told her, ‘People need to see this!’” The exhibition featured a wide range of seascapes—lighthouses, gulls over water, fishing dories, children on the beach— reflecting how Elliott experiences the island. “Take the Trans-Canada Highway: it’s just a paved road with trees on both sides. There's nothing to see, right? You've got to get off the main road and get down to the bays and the inlets.” She pauses, then describes a recent piece: “I’m walking with the waves,” she says, before adding simply, “There’s always water. Always water.”

Family threads through all of Elliott’s work, as it has from the beginning. “One of the first patterns I hooked on my own

was one Dad drew of a dog team. When it was done it was in Mom's room at the retirement home. And it was hooked on a frame that came from Mom's family back in the day.”

And where there is family, there is home. Though she has lived happily in Madoc for nearly 35 years, Elliott is clear: “Newfoundland is home,” she says. “Always will be.”

The Legacy of Farley Mowat

By Richard Hughes

Canada is a country

rich in cultural and natural assets—its spectacular geography of mountains, oceans, lakes, and prairies, alongside a diverse history shaped by First Nations, Inuit, and generations of immigrants. This national wealth has been brought to life through the work of artists, musicians, and writers. The Group of Seven captured the drama of Canada’s rugged landscapes, while songwriters like Gordon Lightfoot, Ian Tyson and Sylvia Tyson, and Stompin' Tom Connors gave voice to its people and stories. Writers such as Pierre Berton, Donald Creighton, Peter C. Newman, and Margaret Atwood have further shaped Canada’s narrative. Among these influential voices is Belleville-born Farley Mowat.

Mowat was a complex and often controversial figure. To many, he was a passionate environmental advocate, deeply concerned with the welfare of wildlife

and the challenges faced by northern communities. He warned that the modern world was neglecting the natural systems essential to our survival. Others viewed him as a popular writer who sometimes blurred the line between fact and storytelling. In response to such criticism, Mowat famously said, “Never let the facts interfere with the truth,” acknowledging his use of narrative licence to strengthen the causes he believed in.

In PeopleoftheDeer, he drew attention to the hardships faced by Inuit communities in the Arctic, while NeverCryWolf challenged widespread misconceptions about wolves as dangerous predators. In both works, he sought to shift public perception and influence policy toward greater understanding and protection.

Whether praised or criticized, Mowat remains one of Canada’s most widely

read authors. His extensive body of work has sold more than 17 million copies and been translated into 52 languages. Across his writing, a consistent thread emerges: a deep

concern for the environment and its impact on both people and wildlife, particularly in Northern Canada and along the Atlantic coast.

Mowat also found success as a writer for younger audiences, with beloved books such as The Dog Who Wouldn't Be and Owls in the Family. His gift for storytelling is equally evident in his autobiographical works, including My Father's Sonand BornNaked

During the Second World War, Mowat served with the Hastings and Prince Edward Regiment, taking part in the Allied invasion of Sicily in 1943 as a rifle platoon commander. He later served as an Intelligence Officer and was eventually promoted to captain, continuing his service with the 1st Canadian Division in the Netherlands. His wartime experiences are recounted in TheRegiment and AndNoBirdsSang.

A poignant local story connects Mowat to Belleville’s Sir James Whitney School for the Deaf. In 1972, he and his wife Claire gifted the school a young Labrador-Newfoundland cross named Alice, who was profoundly deaf. She became a beloved companion among the students, learning to communicate through sign language and living alongside them for seven years. In 1979, she was tragically killed in a traffic accident. Today, a monument marks her resting place.

Farley Mowat was a tireless advocate for environmental awareness and a gifted storyteller whose work sparked both admiration and debate. Over the course of his career, he received numerous honours, including being named an Officer of the Order of Canada, along with multiple literary awards, honorary degrees, and lasting tributes that reflect his enduring impact on Canadian culture.

Through his powerful storytelling and enduring connection to place, Farley Mowat remains one of Belleville’s most influential cultural voices, linking the city to a broader national and environmental legacy.

A Lens on Local History

By Amanda Hill

Theearliest photographer working in Hastings County was Thomas J. Higgins, the son of a Sidney Township farmer. Higgins established a studio on Belleville’s Front Street in 1855 and advertised a “splendid assortment” of daguerreotypes—early photographic images made on silver-coated metal plates—from $1.50 to $3.00 each. By the following year, he was also offering ambrotypes—photographs created on glass plates—and standard photographs, proudly noting that pictures of children could be “taken in five seconds.”

Higgins must have made a good living from photography. By 1857, he was able to invest $1,500 in constructing the Marble Hall building at 395 Front Street, near Belleville’s upper bridge. An early photograph of the bridge and this building still exists, possibly captured by Higgins himself.

Photographers have been documenting people, places, and events in the region for more than 170 years. Thousands of these images were collected by the Hastings County Historical Society, founded in 1957, and are now preserved

in the Community Archives of Belleville and Hastings County.

These high-resolution images are freely accessible for public use

One of the Archives’ largest collections consists of negatives taken by reporters for The Intelligencer news-

paper. With approximately one million negatives dating from 1949 to 2001, this collection provides an invaluable record of local life. An 18-year project to sort and catalogue these images is now nearing completion.

The Archives also house photographs from far beyond the region. Belleville’s pipe band, The Kilties, toured internationally from 1908 to 1910, capturing images in Fiji, Australia, Sri Lanka, Egypt, Myanmar, India, and New Zealand.

While preserving historical images remains central to its mission, the Community Archives also works with contemporary photographers to document present-day events. Recent examples include everyday life during the COVID-19 pandemic and the 2024 solar eclipse.

Since its establishment in 2010, the Archives has prioritized the digitization of both new and existing collections. To date, approximately 17,000 photographs and slides have been scanned and made available online through the Archives’ Flickr account.

These high-resolution images are freely accessible for public use and have been featured in books, online encyclopedias, museum exhibits, and school projects— helping to share the story of Belleville and Hastings County with audiences around the world.

The

buzz around But-

ter Bandits, filmmaker Victor Cooper and his company Eighty Twenty Studio’s first feature film—had been building for months ahead of its sold-out premiere in December 2025 at The Empire Theatre. Starring local talent and filmed entirely in and around Belleville, the production is a true community effort, brought to life by a local cast and crew.

Inspired by real-life events across Southern Ontario around 2021, Butter Bandits taps into the pressures of rising food costs and sky-high inflation. As

Butter Bandits

By Allison Nichol Longtin

desperation mounts, siblings Daryl, Matt, and Tammy take matters into their own hands in a high-stakes heist.

Cooper and his team felt the support of the community that night in a packed theatre. “My wife and I couldn't get a seat at the premiere. We had to pull up chairs by the audio booth.” Despite nearly 20 years in film and television, Cooper admits he had pre-show jitters. “When the lights went down and the movie started to play, I got super nervous and I've never been nervous to show anything before… It's a comedy. And you can't fake liking a comedy. If 700 people in a room

don't laugh it's really loud. So, I got very nervous, and then the first joke got a laugh, and the second joke got a laugh… After the first three or four laughs I just kind of felt my shoulders sink and I was like, okay, I can enjoy this now.”

Will we be able to watch ButterBandits from our very own living rooms anytime soon?

The Butter Bandits team is still riding high on the overwhelmingly positive response, with momentum continuing to build. “There's still a lot of momentum and people are asking, ‘when are you going to do another screening?’”

So what’s next for Cooper and the film? While a wider release is still in the works, Butter Bandits is currently in the hands of a well-known distributor. Cooper can’t share details just yet, but offers a hint: “They’ve distributed hundreds of films and I feel like they could be a really great launch pad for us…”

And what about a sequel? “We've met with a lot of the cast and crew to talk about future projects and we're trying to not put the cart before the horse, but we want to keep that momentum and make sure people know

we're definitely making more. It's not a one-and-done sort of thing,” says Cooper. “There are a lot of steps between now and turning on Netflix and seeing Butter Bandits, but, hopefully we can get someone to believe in it as much as we do.”

For those who missed the premiere—or want to experience it again—a second screening of Butter Bandits will take place at The Empire Theatre on April 30.

Stories That Won’t Let Go

By Ardith Racey

"Stories won't leave me

alone unless I do something with them,” says Janet Kellough, a seventh-generation resident of Prince Edward County (PEC) who has long been immersed in its history. “Communities define themselves by the stories they hold and tell, and it’s through oral history that we remember who we are,” she adds.

Kellough began her creative career as a performance storyteller, collaborating with local musicians to create staged productions that fused spoken word and music. This work eventually led her to write her first novel, ThePalaceofthe Moon, in the late 1990s. Set at the Outlet, a local beach in the County, the story was sparked by a conversation with her mother about a former dance hall there—one her mother dismissed as “not the sort of place she’d ever go to.” Kellough was instantly intrigued.

“I couldn’t make it work the way I’d generally approached stories, so I started to write. The story wanted to be a book, so I let it be,” she says.

Before turning to fiction, Kellough wrote for local newspapers and magazines and was involved in numerous stage productions, considered experimental for their blend of narrative and music. She also helped create and organize Women Killing It, a local crime writers’ festival launched in 2017, which was cancelled in 2020 due to COVID and has not yet returned.

Her body of work is extensive. All seven books in the Thaddeus Lewis Mystery series, published by Dundurn Press, have received strong reviews and accolades. She has also written contemporary novels, including The Palace of the Moon and The Pear-shaped Woman, a seminon-fiction Legendary Guide to Prince EdwardCounty, the historical novel Four Dead Wives, and more recently, the dystopian mystery TheBathwaterConspiracy. Her latest book, Lorraine and Winnie’s Life of Crime, explores themes of friendship and resilience.

The Thaddeus Lewis series remains her most celebrated work. The fifth novel,

WishfulSeeing, was nominated for the 2017 Crime Writers of Canada Arthur Ellis Award for Best Novel. Kellough traces its origins to “an old autobiography in the back shelves of the Picton Library about a Methodist circuit rider.” The story hinted at a serial killer in Upper Canada in the 1840s, but details were elusive. “It was just im -

possible to find details about the story because there are no records and they used initials rather than names, as was the fashion in the 19th century,” she explains.

“I often roam around on our 50-acre property and during the pandemic, I began wondering if I knew anyone who would help me bury a body there – the answer was ‘yes’"

“I was essentially writing history but fictionalizing it—the fictional Lewis has living relatives in the County, and his descendants were thrilled when I contacted them,” she says.

“Thaddeus is a non-sympathetic character, but as a religious circuit rider, I tried to give him an ethical set of operating rules rather than religious ones, and so I became extraordinarily fond of poor, old Thaddeus. The more he was relatable to me, the more he is relatable to the reader.”

Publishing her first novel was, she recalls, “both scary and bizarre”—an experience later eclipsed when the fifth book in the series was adapted for the stage at the 4th Line Theatre in Millbrook. “To see all these characters who walked around in my head walking around on stage was surreal.”

“Plots happen when ideas collide,” mulls Kellough. “I often roam around on our 50acre property and during the pandemic, I began wondering if I knew anyone who would help me bury a body there – the answer was ‘yes’" she says, and from that thought—combined with the realities of the pandemic—emerged the idea for Lorraine and Winnie. Though it required extensive research, she describes the

process as both demanding and deeply enjoyable during an intense time.

Kellough’s creative process remains deeply personal. “I start with a scene that is the most vivid in my head and then I often find a link to the plot when I’m researching. I edit a lot, and that works for me, too,” she says. She often lets ideas “hover” in her subconscious until something meaningful happens for a character—only then does she begin to write.

While she continues to write, Kellough is reluctant to share details of what comes next. Beginnings, she says, are “wispy,” while her characters feel “so real.” Grounded in the stories, history, and rhythms of the place she calls home, her work continues to blur the line between fiction and history—each deeply informing the other. Janet Kellough

The Bookmarked Postcast and the Idea Box

By Jennifer Shea Quinte West

Quinte West resid-

ents particularly podcast creators— have been gifted a well-equipped, centrally located, and free recording space to explore and share their creative voices. Idea Box launched in April 2025 and, if you peek through the 16-foot glass window at the main entrance of City Hall, you can often catch a glimpse of recording sessions in progress.

Idea Box is a passion project of Emily Nash, Media & Communications Officer for the Quinte West Public Library. Drawing on insights from staff at the Picton Library, who had developed a similar space, Nash created a plan tailored specifically to the needs of Quinte West. About 100 people attended the launch event, and the space has seen steady use ever since—surpassing even Nash’s expectations.

“We had some doulas, some doctors, a nursing group who talked about their experiences, authors who wanted to record their books, school students who wanted to record a podcast as part of their school assignment,” says Nash. “We’ve also had parents and grandparents come in and record messages as gifts for their kids; we’ve had people record interviews, radio segments, and ads.”

A key part of Nash’s role is ensuring users feel confident with the equipment. It’s a responsibility she clearly enjoys. “I love sharing knowledge with the public

and empowering them with the skills they need to create. You don’t have to be a mastermind to do it. We’re here to help you create something wonderful and share your voice with the community.”

Over time, a regular group of users has emerged—many of them podcasters. Joel Frijters is one such creator. His podcast, The Big Five, was previously recorded in a portable home studio using rented equipment. “(Idea Box) has simplified my process entirely and it has turned work into play,” he says. “I just show up with my guest(s), plug in and have a great chat.”

Another regular, Dexter Riley, echoes that sentiment. “Idea Box has elevated my recordings to a professional level with its studio-grade microphones, audio interface, and quiet environment. It's made the process more efficient and enjoyable, allowing me to focus on content rather than technical issues, and I've been able to produce higher-quality episodes that attract more listeners.”

Idea Box is also home to the Quinte West Public Library’s own The Bookmarked Podcast, hosted by Nash. With roughly one episode produced each month, the podcast is built around three core pillars. “One is library programming promotion,” says Nash. “Then we wanted a community spotlight, where we would have interviews with the community. Finally, we want to have a segment with our two librarians where they’re talking about the role of libraries today, readers’ advisory and that sort of thing.”

In one episode, Nash sat down with Rachel Murgel, Miss International Canada 2025, to discuss her project Books,Beauty,Brilliance, which aims to connect communities and empower youth through reading. The podcast also brought people together through a four-part live, in-studio reading of Dickens’ A ChristmasCarol, performed by Adam Veenstra.

Looking ahead, Nash envisions more frequent episodes and a growing audience. While The Bookmarked Podcast is

currently available on Spotify, she hopes to expand into video with future episodes on YouTube.

As for Idea Box, the future continues to look bright. A forthcoming booking system will streamline access, and plans are underway to attract more video creators through new backdrop options and a camera loan program.

Podcaster and Idea Box user Kate Miller sums it up best: “It's an incredible free resource that most people don't know exists. If you're a podcaster — or want to be one — there's no reason not to use it.”

There can be no bet-

ter way to explore creativity than painting outdoors, immersed in the natural beauty of Prince Edward County under the guidance of multidisciplinary PEC artist Tim Snyder. Watercolour in the Woodswas a collaboration between Nature Canada’s NatureHood program and the South Shore Joint Initiative, made possible through Arts Education funding from the Quinte Arts Council.

Armed with painting supplies and outdoor gear, Snyder guided more than twenty students through the woods, exploring the convergence of art and nature. Blending artistic expression with environmental science, the program encouraged students to view their surroundings through a “creative lens,” deepening their understanding of conservation, biodiversity, and local history.

Watercolour in the Woods fostered holistic learning through a creative approach to studying ecosystems, land formation, and biodiversity. Beyond painting, students also examined humanity’s environmental impact.

The first phase of the four-part program took place in the classroom, where students learned the fundamentals of watercolour painting. Snyder supported

them in developing technique while focusing on landscape composition.

The aim was to articulate the beauty of the region and its ecological importance and to inspire students with a fun learning experience.

Students then travelled to the Prince Edward Point National Wildlife Area to paint en plein air. Surrounded by the vast natural landscape, they documented local flora and fauna while learning about geological forces, human impact, and the fragility of South Shore ecosystems. Activities and lessons also introduced Indigenous perspectives and knowledge.

The third phase centred on reflection and curation. Students wrote about their outdoor experiences and paired their reflections with their paintings, articulating both the beauty of the region and its ecological significance.

The program culminated in the creation of a beautifully produced 12” x 12” album, along with a public exhibition at

Arts On Main and The Cabin galleries. Showcasing both visual art and original writing, the exhibition celebrated youth creativity and collaboration. Together, the works expressed a shared understanding of the importance of protecting the biodiversity of Prince Edward County’s South Shore.

RISE: BecauseWe Are Equal

By QAC Team Belleville

The Quinte Arts Council presents the 8th Annual International Women’s Day Exhibition, RISE: Because We Are Equal.

Each year, this exhibition brings the community together to reflect, celebrate, and take action toward a more equitable future. The 2026 theme, Give To Gain, invites us to imagine a world free of bias and discrimination—one that is diverse, inclusive, and grounded in shared strength.

This year’s exhibition features the work of 22 local artists exploring identity, resilience, and belonging through painting, collage, and mixed media—equality is built through collective care and shared effort.

Emebet Belete is an artist, educator, and community arts organizer whose interdisciplinary practice spans painting, collage, and installation. Her work reflects cross-cultural experiences shaped by life in Ethiopia, Canada, and Asia.

Dendra Hillier is a watercolour artist who discovered painting while navigating chronic pain. Her work captures joyful scenes, landscapes, and personal moments, often inspired by her scientific background and Newfoundland roots.

Angela Wiggins is a contemporary Anishinaabe artist whose work moves between abstraction and representation. Through bold colour and symbolic imagery, she explores identity, presence, and Indigenous knowledge systems.

Ruth McCurdy is a self-taught photographer who captures “moments in time” across rural landscapes. Her work reflects a deep respect for nature and a keen eye for detail in both people and place.

Karen Buck-Mackintosh is a photographer and mixed media artist whose work is rooted in personal relationships and environment. Her practice often explores memory, connection, and the emotional landscape of everyday life.

Lise Lindenberg is a retired visual arts educator and theatre collaborator whose work reflects her passion for community and animal welfare, often supporting local shelters through her art.

Elizabeth Roberts is a ceramic artist whose work emphasizes texture, touch, and quiet observation. Inspired by nature and everyday life, her hand-built pieces explore connection through simple forms.

Tricia Bos is a multidisciplinary artist working across traditional and digital media. Her current focus on comic and graphic novel art allows her to explore storytelling and personal expression in new ways.

Joanne Kells is a mixed media artist whose intuitive, layered work blends spray paint, collage, and acrylic. Her practice is rooted in emotional expression, energy, and connection to nature.

Lorraine Huebner creates abstract, experimental works using mixed media and recycled materials. Her practice reflects themes of discovery, transformation, and the creative reuse of everyday objects.

Natalia Laluq is a Canadian-Ukrainian artist working in plein air traditions. Her paintings capture fleeting moments, light, and atmosphere, reflecting both place and personal experience.

Brandy Calvert Ringelman is a mixed media artist and founder of These 4 Walls Gallery. Her layered, Art Nouveau–inspired work explores identity, resilience, and the emotional depth of lived experience.

Dale Christine Ballard is a mixed media artist whose work draws from nature, spirituality, and found materials. Birds, particularly crows and ravens, are recurring symbols in her richly textured pieces.

Liana Di Marco is a multidisciplinary artist and writer whose expressive, abstract work blends colour, movement, and narrative. Her practice reflects both personal and social themes.

Jeanette Goodman works with textured surfaces, using gesso and plaster to build layered compositions. Her work explores care, leadership, and the many roles women hold within communities.

Tina Osborne’s work spans abstraction and representation, often incorporating narrative and symbolism. Her recent focus explores spiritual themes and female perspectives.

Jessica Youmans is an Ojibwe artist whose work explores cultural identity, healing, and womanhood. Through bold lines and symbolic imagery, she honours ancestry and resilience.

Emma Brant-Edwards is a student artist from Tyendinaga Mohawk Territory whose work incorporates Mohawk culture across painting, pottery, and textile practices.

Zeena Sileem is a contemporary artist whose work draws from the unconscious, using vivid colour and surreal imagery to explore emotion and perception.

Sarah Winn is a multidisciplinary artist working in painting, theatre, and design. Her work explores contrast, identity, and the evolving roles of women.

Karen Richey is a contemporary mosaic artist who repurposes materials to create intricate, story-driven works. Her process reflects transformation, memory, and renewal.

Rhonda Nolan is a mixed media artist whose expressive, textured work is influenced by street art and installation. Her practice explores creativity as a pathway to well-being and connection.

At its core, RISE is more than an exhibition—it is a call to action. Through creativity, collaboration, and shared voices, it reminds us that when women thrive, communities thrive—and together, we rise.

Kidan Singer has been passionate about photography ever since he got his first camera at the age of twelve. He loves experimenting, finding creative compositions, and changing his point of view to get unexpected details.