Christina Leslie (b. 1983, Pickering, Ontario) is a Toronto-based artist with a BFA from OCAD University (2006) and an MFA from the Savannah College of Art and Design (2022).

Christina Leslie (b. 1983, Pickering, Ontario) is a Toronto-based artist who holds a BFA from OCAD University (2006) and an MFA from the Savannah College of Art and Design (2022). Leslie’s photographs have been shown at major institutions worldwide, including GAMU in Prague, Oakland University in Michigan, the Royal Ontario Museum, Canada’s Pier 21, the Art Gallery of Windsor, the McMaster Museum of Art, and MOCA Toronto. In 2025, Leslie has had solo exhibitions at the Robert McLaughlin Gallery, Oshawa, and at the Ottawa School of Art. She is represented by the Stephen Bulger Gallery in Toronto.

The South Facade Billboard is an ongoing series of photographic works that resonate with the context within which they are presented on the lake-facing exterior wall of the gallery. For this edition, The Power Plant has partnered with ERA Architects to showcase the work of artist Christina Leslie in a presentation that aligns with the goals of Art=Waterfront, an ERA-led initiative that identifies the waterfront as a vital space to foster and celebrate the city’s artistic and cultural landscape.
 
Part of Leslie’s photographic series Pinhole Parishes (2023-25), the selected image, _Pinhole 11_, explores memory, place, and intergenerational connection through the lens of her Jamaican heritage. Drawing inspiration from stories and memories shared by relatives, Leslie's images create a dialogue between past and present, reconstructing familial and cultural histories shaped by migration, geography, and fragmented archives. At once a personal act of remembrance and a broader act of reclamation, the series maps stories across all fourteen civil territorial divisions in Jamaica known as parishes. 
  
  
**About the Artist**  
**Christina Leslie** (b. 1983) is a Pickering-based photographic artist. She holds a BFA from OCAD University (2006) and an MFA from the Savannah College of Art and Design (2022). Leslie has exhibited at institutions including GAMU in Prague, Oakland University in Michigan, the Royal Ontario Museum, BAND Gallery, Canada’s Pier 21, the Art Gallery of Windsor, Prefix Photo, the McMaster Museum of Art, MOCA Toronto, and many others. Recent exhibitions include Likkle Acts at the Robert McLaughlin Gallery (2024–2025) and Pinhole Portraits and Places at Stephen Bulger Gallery (2025). She also served as Interim Assistant Curator at the McMaster Museum of Art, curating THE GREAT UNSEEN(2025). Her photographs are held in private, corporate, and institutional collections, and she is represented by Stephen Bulger Gallery in Toronto.


South Facade Billboard: Christina Leslie

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Christina Leslie, Pinhole 11, 2024. Courtesy the artist. Installation view: The Power Plant, Toronto, 2025. Photo: LF Documentation.

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South Facade Billboard

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The Power Plant is currently closed for installation. The gallery will reopen with the new exhibition on Saturday, April 25, 2026.

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Missed the exhibition at The Power Plant? Visit our Touring Exhibitions at other galleries across Canada and the world!


Touring Exhibitions

Experience international and Canadian art by leading contemporary artists of our time.

Exhibitions

Claire Greenshaw is a visual artist and a doctoral candidate in the Department of Visual Arts at York University, Toronto.

Claire Greenshaw (b. 1980 in Cardiff, UK; lives and works in Toronto, CA) is a visual artist and a doctoral candidate in the Department of Visual Arts at York University, Toronto. Her research takes up ideas about the circulation of images, feminist approaches to the archive, and the experience of time under late capitalism and the Anthropocene. She has held recent exhibitions at: The Gund, (Gambier, OH (2025); the Kitchener-Waterloo Art Gallery, Kitchener (2024–25); and two seven two, Toronto (2024). 

Leisure is a collaborative art practice founded in 2004 by Meredith Carruthers and Susannah Wesley.

Leisure (Meredith Carruthers, b. 1975 in St Catharines, CA, and Susannah Wesley, b. 1976 in Simcoe, CA; live and work in Montreal, CA) is a collaborative art practice founded in 2004 by Meredith Carruthers and Susannah Wesley. Their research-based practice explores subjects such as feminist cultural history, working in friendship, and children’s right to creativity—particularly as an antidote to climate anxiety. They have held solo exhibitions at Optica, Montreal (2025); Oakville Galleries, Oakville, ON (2023–24); and at Musée d’art de Joliette, Quebec (2018–19). Carruthers and Wesley are currently working on a precedent- setting collaborative PhD at Concordia University in Montreal. 

Sassa Linklater is Omaskêko Ininu from Moose Cree First Nation and Sugpiaq from the Native Villages of Afognak and Port Lions in Alaska.

Sassa Linklater (lives and works in North Bay, ON) is Omaskêko Ininu from Moose Cree First Nation and Sugpiaq from the Native Villages of Afognak and Port Lions in Alaska. A multimedia artist, she beads, sews, paints on parfleche, and makes digital art. Sassa was crowned Miss Nipissing in 2023 and Miss Wikwemikoong in 2025. She dances old style jingle, old style fancy and woodland, makes dancing regalia, and sings at powwows and round dances. Sassa has shown animations at Trinity Square Video, Toronto (2020) and All My Relations Arts, Minneapolis (2017). She is featured in _A gentle reassembly_ (2022), _They fall the ground beneath you_ (2018), and _The treaty is in the body_ (2017)—videos by Tanya Lukin Linklater concerning embodied Indigenous knowledge and material culture. She plans to attend university to become a Cree language teacher like her late tanisko caban (great-grandmother), Agnes Hunter of Peawanuck. 

Tobias Linklater is Sugpiaq from Alaska and Omaskêko Cree from James Bay, ON. He is majoring in Art History at Carleton University in Ottawa and minoring in Anthropology.

Tobias Linklater (lives and works in Ottawa, ON) is Sugpiaq from Alaska and Omaskêko Cree from James Bay, ON. He is majoring in Art History at Carleton University in Ottawa and minoring in Anthropology. His short videos have been shown at Camden Art Centre, London, UK (2025); Trinity Square Video, Toronto (2020); All My Relation Arts, Minneapolis (2017); 80WSE Gallery, New York (2016­–17); and Mercer Union (2016), Toronto. As a member of the group, _eagles with eyes closed_, he performs and records original musical scores/compositions with Duane Linklater, including: _buffalounit for bison bison (dance_hum for dirtbath)_, DIA Chelsea, New York (2025); _Treaty Past Present Future [Modest Livelihood]_ at Berkeley Art Museum and Pacific Film Archive (2024); _eagles with eyes closed for the sun tunnels_ at DIA Chelsea, New York (2021); and _primaryuse_, Catriona Jeffries, Vancouver (2020). 

Ana Mendieta was a prolific multidisciplinary artist working across painting, drawing, photography, film/video, sculpture, and site-specific work.

Ana Mendieta (b. 1948 in Havana, CU; d. 1985 in New York, US) was a prolific multidisciplinary artist working across painting, drawing, photography, film/video, sculpture, and site-specific work. She is best known for her “earth-body” works, in which she used her own body to create silhouettes formed from natural materials such as earth, flowers and fire. Through these works, Mendieta explored themes of displacement informed by her experience living in exile from her home country, Cuba. Ana Mendieta’s work has been exhibited in important solo exhibitions and museum retrospectives, in venues such as: Museo de Arte Contemporáneo de Castilla y León, ES (2024); SESC Pompéia, São Paulo (2023); Baltimore Museum Of Art (2020);  Berkeley Art Museum and Pacific Film Archive (2016); Hayward Gallery, London, UK (2013); Castello di Rivoli, Turin (2013); Art Institute of Chicago (2011); Whitney Museum of American Art, New York (2004); Smithsonian Institution, Washington, D.C. (2004); and the New Museum, New York (1987). 

Rivane Neuenschwander’s participatory works are made in collaboration with the viewer and involve a combination of games, experiments, and spontaneous and participatory actions.

Rivane Neuenschwander’s (b. 1967 in Belo Horizonte, BR; lives and works in São Paulo, BR) participatory works are made in collaboration with the viewer and involve a combination of games, experiments, and spontaneous and participatory actions. Her works are shaped by an interest in language, nature, geography, time, and social interactions, and how these processes are connected. Her work has been shown in major arts organisations internationally, including: Instituto Inhotim, Brumadinho Minas Gerais, BR (2024–26); Instituto Cultural Itaú, São Paulo (2024–25); Kinder Kunst Labor, St. Pölten, AT (2024–25); Serralves Foundation, Porto, PT (2022–23); Kunstmuseum Liechtenstein, Vaduz, LI (2021–22); Whitechapel Gallery, London, UK (2015); São Paulo Museum of Modern Art (2014); Irish Museum of Modern Art, Dublin (2011–12); Mälmo Konstall, SE (2010); and the New Museum, New York (2010). 

 

Harold Offeh is an artist working in a range of media including performance, video, photography, learning, and social arts practice.

Harold Offeh (b. 1977 in Accra, GH; lives and works in Cambridge and London, UK) is an artist working in a range of media including performance, video, photography, learning, and social arts practice. Offeh employs humour as a means to confront viewers with historical narratives and contemporary culture. He has exhibited widely throughout the United Kingdom and internationally, including at: BALTIC Centre for Contemporary Art, Gateshead, UK (2025–26); Kettles Yard, Cambridge, UK (2025–26); Tate Modern, London, UK (2019); Kunsthal Charlottenborg, Copenhagen (2016); and The Studio Museum in Harlem, New York (2013–14). 

Temitayo Ogunbiyi’s art explores the relationship between the environment, line, and representation.

Temitayo Ogunbiyi’s (b. 1984 in Rochester, US; lives and works in Lagos, NG) art explores the relationship between the environment, line, and representation. Moving between drawing, painting, sculpture, and installation, her work responds to global current events, anthropological histories, and botanical cultures. Her artwork has been shown at prestigious museums and galleries internationally, including: Kunstverein Hannover, DE (2025); The Noguchi Museum, New York (2025); Bundeskunsthalle, Bonn (2024); DE SINGEL, Antwerp (2024); Museum Tinguely, Basel (2023–24); Frieze Sculpture Park, London, UK (2023); Haus der Kulturen der Welt, Berlin (2023); South London Gallery, London, UK (2023); and Van Abbemuseum, Eindhoven, NL (2022). 

Robin Rhode engages in a variety of visual languages such as photography, performance, drawing, painting, and sculpture.

Robin Rhode (b. 1976 in Cape Town, ZA; lives and works in Berlin, DE) engages in a variety of visual languages such as photography, performance, drawing, painting, and sculpture to create arrestingly beautiful narratives that are brought to life using quotidian materials such as soap, charcoal, chalk, and paint. Rhode has had major solo and group exhibitions at a number of important museums around the world, including: Hamburger Bahnhof, Berlin (2013); Los Angeles County Museum of Art, Los Angeles (2010); Hayward Gallery, London, UK (2008); Haus der Kunst, Munich (2007–8); Centre Pompidou, Paris (2005); and The Museum of Modern Art, New York (2005). 

_Colourful Parachutes: Imagining Alternative Futures Through the Power of Play_ brings together leading artists from Canada and abroad to examine the politics of the exhibition space through the radical power of play. Imagining children as the exhibition’s primary audience, it puts into question how we make, present, and experience contemporary art—often with unexpected and uniquely engaging results. Influenced by exhibitions like Palle Nielsen’s _The Model_ (1968), which turned Stockholm’s Moderna Museet into a giant adventure playground, _Colourful Parachutes_ views the gallery as a microcosm of society. If we allow children to reinvent it, what new worlds can we co-create? 

A key theme underlying _Colourful Parachutes_ is the relationship young people have to the future. Many of the works in the exhibition touch on the vital importance of fostering a relationship to the natural world during childhood, the increasing sense of eco-anxiety carried by young people, and how to advocate for child-led environmental activism. 

The title is borrowed from Ailton Krenak’s book _Ideas to Postpone the End of the World_ (2019), in which the Brazilian Indigenous philosopher and environmental activist suggests using creativity and dreaming to create colourful parachutes that might slow our fall. Krenak asks: “What sort of world are you boxing and wrapping for future generations? You keep talking about another world, but have you asked the generations of tomorrow if the world you’re building is the world they want?” 

Including several participatory, interactive works, _Colourful Parachutes_ transforms the gallery into a space where things can be made, moved, played with, tried out, tested, and touched. By disrupting the formal conventions that we are accustomed to in the gallery, it encourages people of all ages to become active participants in the shaping of their environment by giving them the power to envision a different world for us all.  

**Artists include:** Claire Greenshaw (Canada), Leisure (Meredith Carruthers & Susannah Wesley) (Canada), Sassa Linklater (Canada), Tobias Linklater (Canada), Ana Mendieta (Cuba/United States), Rivane Neuenschwander (Brazil), Harold Offeh (United Kingdom), Temitayo Ogunbiyi (United States/Nigeria/Jamaica), and Robin Rhode (South Africa/Germany)

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Harold Offeh, The Mothership Collective 2.0, 2025. Baltic Centre for Contemporary Art. Photo: Reece Straw.png

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The Power Plant

Exhibitions

On View

South Facade Billboard: Christina Leslie

Upcoming Exhibitions

Colourful Parachutes: Imagining Alternative Futures Through the Power of Play

Touring Exhibitions

Commissioning program