Studio Sixty Six


Guillermo Presents: Rupert Allen

Posted on September 18, 2019

This is the 2nd “Guillermo Presents” interview about art appreciation and art collecting, hosted by artist, instructor, S66 curatorial associate Guillermo Trejo:

This time I have the pleasure to introduce you to my good friend Rupert Allen. Rupert is a interviewee for this series, especially since he started collecting at a young age; something that is not that common.

Rupert and I have known each other for a long time now. I have to say that he is probably one of the first people that bought my art in Ottawa. It was a MUNNY figure that I designed for a collector’s toy store in the market (the store doesn’t exist anymore). That was about 10 years ago or maybe more; since then my work has evolved, as well as Rupert’s collection.

Perhaps you don’t know Rupert, but have most likely seen him. He is definitely one of the best dressed men in town; you can find him at many cultural events art openings, and social events. I used to dress up if I was going out with him because I did not want to look to bad next to Rupert!  

Rupert in front of his Whitney Lewis Smith Photograph

The one thing that I know to be part of his success as collector is his commitment to the arts and his involvement in the “ecology of the arts”. Meaning Rupert follows the evolution of artists, meets with artists, curators, and he is always aware of the macro and micro movements in the arts and I think this has helped him decide when to collect and when to wait. 

Rupert thanks for participating in this interview.

Let’s start with a generic but important question. Do you remember the first piece you purchased art and why you decided to purchase it? Was it an artist that you had been following or was it an impulsive decision?  Do you remember how old where you at the time?
Unfortunately, I cannot remember the first piece that I bought, but I can remember the first piece that I lost, and by that I mean a piece which someone else bought that I was coveting. It left a mark, and was when I realized I may have a burgeoning problem/addiction issue. I remember it very clearly, it was a lovely little Howie Tsui piece, an artist I have continued to like and follow to this day, who just had an extraordinary show at the Ottawa Art Gallery. I was 22 or 23, and at the SAW gallery art auction, and it was bought by someone else, and now long time nemesis. It is an odd feeling to be struck by regret when it is object-related. It also jumpstarted my collecting habit, because similar to heartbreak, you set out to never feel that way again. Sadly, I avoided neither heartbreak nor losing out on an art piece in my late twenties. I think it is insultingly called character building. And now that my memory has been greased a bit, I can remember the first piece that I bought. Shortly after I graduated from Carleton, I moved down to Brazil to work at the bank Itau, and at the Bienal. It was there that I became more familiar and engaged with the graffiti scene, and got a piece by the Brazilian duo, Osgemeos. Sadly, I traded it for a few bottles of decidedly mid-range wine and cash for a plane ticket to Venice a few years later, which is probably why I purposely forgot about it. Best not to dwell on mammoth personal failings too heavily. 

Artists: Ambera Wellmann and Sarah Clifford Rashotte

Rupert, I find that you are really good at finding artists and developing your collection from there. Do you see yourself as a “talent finder”? How much effort do you put in to knowing the artist and looking at their work before you collect it? Or it is more of an organic process?
At best I am a good coattail rider of what others have discovered. Having said that I do try and read as much as I can and get out to as many art openings as possible. Now that I have two young children, and it is getting increasingly hard to get out to shows and find the time to read, I have found that listening to what others in at the art world are saying allows me to better triage what I should be looking at. I always try and chat with artists, collectors, dealers and curators, people who are no doubt smarter and have read significantly more than me. But getting back to the question of how I buy, sadly, I have no algorithm for that. Sometimes I impulse buy and sometimes I draw things out beyond reason. I know the owner of Le Petit Mort Gallery (which is sadly close), used to find it unbearably tedious when I hummed and hawed over a 50 dollar found photograph past gallery hours on a rainy Wednesday night. In my earlier years, I would say that my purchases were lubricated with a few more drinks than I can allow for now, and an expense account that didn’t have to rationalize childcare payments. 

SPAO students' work

One thing that I find really interesting about your collection is that really varies in esthetics; you have lowbrow art or street art beside fine photography, or a silkscreen poster beside an oil paint abstraction. It feels eclectic but not random; I find that the connection is the quality of the artist. How do you manage this? How can you be open in terms of “appreciating” different styles at the same time? It sounds easy, but I don’t think it’s easy to have a good eye.
Well thank you, I probably owe part of that eclecticism to my mother, who has a strong sense of design, and always had a lushly decorated house, full of gilded picture frames, antique wooden birds, old MoMA exhibition posters, stacks of Spode dishware, and myriad of flower vases. I would also have to say that the variance in the collection reflects the stages of my life. I like that as I look at the collection on the walls of our house, I can trace my life from my mid-twenties to now, the ups and downs and the inevitable sideways turns somewhere in my late twenties. It is a visual biography. Now I share my life and art collection with my wife Sarah, daughter Brooklyn and son Oliver, and the collection reflects them as well, which is where much of the eclecticism comes in. For instance, while I might like vintage black and white photos of racy nudes, my wife prefers colourful graffiti art to be positioned in the dining room. We have settled on both. Which I guess is why the collection may not feel random, because the choices have been deliberate, and selected individually for their quality, and personal fit. I think this eclecticness carries over to our furniture and finishings, which are from across the spectrum, but somewhat, somehow work, maybe. 

Artists: Karel Funk and Andy Summers and Hayden Menzies. We love that there is original art in the children bedroom! 

Artists: Shuvinai Ashoona and Barry Ace

In relation to the previous question, I have to say that I am always surprised at how much you know about artists and their projects. It’s almost as if you are collecting the artist rather than an individual piece of art, is this fair description? Are you mostly interested in the artist or interest in the art comes before interest in the artist? 
I would have to say both, we have many artists in our collection, whom I have never met personally but loved the particular piece. I always try and reach out to them, to ask about the work in question, and about their practice. I also go the route of meeting artists, and becoming interested in them before I see their work. I would say the two are complimentary. And where possible, I do like to have a bit of depth though, that is to say multiple works from the same artist in different styles and or mediums. But the ideal is really, when you become friends with cool, dynamic and impressive artistic people, you get the opportunity to support them and their careers and hang their work on your walls. I would say that would be my favourite part.  

Artists: Guillermo Trejo / Jinny Yu collaboration and an early Amy Schissel

Recently you donated some works from your collection to the city of Ottawa. I find this really interesting because this somehow validates you as a collector. Do you have any tips about this process of donation? I also find this is an interesting way to help artists enhance their curriculum, because by consequence of your donation, the artists are also in the collection of the city; was this part of your idea? 
No tips, but I would certainly encourage people to do it. My wife and I found it to be a very easy and fun process, especially when you see the works newly framed and hanging in the gallery. While it wasn’t part of why we did it, adding another institutional collection to an artist’s resume is never a bad thing, and we wanted make sure that the pieces were properly cared for. We donate wine as well, which is another collecting vice that I have picked up, both to my wife’s pleasure and dismay. Back to the art.

Artists: early Natalie Bruvels painting and ceramics by Celia Perrin Sidarous

Do you have any suggestion for a younger person interested in collecting art?
I would advise you to get out and start seeing some of the great art exhibits around the city. Local art shows are full of interesting people, in very fun and approachable atmospheres. They can be great parties as well. You will start discovering what you like, and build your own “eye” and taste. It is also very important to buy what you want to live with. Outside of Ottawa, art fairs like Toronto and Papier (Montreal), are great places to see a lot of art at once, and they also offer wonderful people watching in different cities. I took my daughter last year who was four at the time, and she wept when we didn’t buy a 20 thousand dollar photograph. And the time before she coloured over the piece we bought when it was resting on the table. I guess results vary when you make it a family outing. There is a lesson somewhere in there I guess.

Do you have any suggestion for younger artist? 
I am not an artist myself so I am not sure I will offer the best suggestions, but I would say that based on the conversations I’ve had with artists over the years, I get the sense that Ottawa is a great place to start a career in the arts as there are incredible institutional resources and very knowledgeable and approachable people here. In a larger town, some of these types of resources might feel beyond the grasp of an artist just starting out. 

What do you think about canary yellow pants for men? Asking for a friend… 
Ha. Your introduction reminded me of when I upped my dress code thanks to my friend Mauricio. Every-time we went out, which was often, I looked like a disheveled suburban garbage can standing next to him. Needless to say I had to pull myself together a bit more, and inject a bit of frivolous colour and insouciant pattern. So the answer is a strong, and unflappable yes to the canary yellow pants. 

Rupert with his Rémi Thériault photograph from the Front series

Do you have any other comments? 
No, I think I have rambled on enough. 

Thank you Rupert!

Guillermo Presents: Bill Staubi

Posted on July 23, 2019

We are excited to present to you the first of an interview series about art appreciation and art collecting that will be hosted by artist, instructor, S66 curatorial associate Guillermo Trejo. In this series, he will be interviewing various people that he knows and respects, people that also collect art.

For the inaugural interview of this series, Guillermo brings us Bill Staubi. For those who have not had the pleasure of meeting Bill, here is a brief introduction.

Bill has been an important member of the arts community in Ottawa for many years. Not only is he a supporter of the arts as collector, but he has also volunteered his time and knowledge for various art organizations in the city. He has a special interest in helping emerging artists and supporting local talent; his large collection consists mostly of Ottawa artists’ work. 

Bill thank you very much for accepting the invitation.
Do you remember what the first art piece you bought was and why you bought it?

I remember my first purchase very well. It was the summer I graduated from my BA (1978) and I was still living in the small house the University had available to students. A group of four artists had booked the space for an art show and I was helping them hang their work. I knew I wanted to have one and give the artists their first sale. But which one, I liked so many of them! Before the end of the day I ended up committing to buying 5 paintings; one from each of three artists and two small ones from the fourth. The challenge was that having just graduated I was unemployed, broke, and had a student loan to repay. So I went to the bank and negotiated my first personal loan to buy my first paintings. I still have three of those paintings.

2 views of Bill's art filled hall way with a view of a large Natalie Bruvels' painting

How did you start your art collection?

I have always been drawn to original work and preferred to decorate my homes with it but I did not really start “collecting” until 2006. A fundraising offer I made to the Pride Committee put me in touch with a local gallery that introduced me to a lot of art and artists and started me on the road to collecting. 

A view of the art on and around the dining room console

Close up of art work on the dining room console

Did you already collect other things before art or did you start buying art and then realized you were a collector? 

For many years I collected Santa Claus ornaments. When I moved downtown I moved over 50 boxes of books. I went through a period of collecting crystal. I have a weakness for multiples of the same thing and for the patterns involved in collections of things. All those previous collections are gone and there is just the art collection now.

I started acquiring a lot of art for various reasons before I realized I was a collector. In part, I enjoyed supporting local artists and the confidence it gave emerging artists to make their first sale. I've purchased work to support a cause, raise funds, or help an artist out during a difficult period. After a while I began to more consciously seek out specific artists or specific works – part of my love of multiples and patterns.

Shown here, Heidi Conrod painting, Jonathan Hobin photograph, Christos Pantieras cake sculptures

What came first, the crucifix collection or the art collection? (Bill has an amazing collection of Crucifixes  and religious figurines are probably the main object in the collection). 

The religious collection, affectionately known as The Grotto, came later and by accident. I enjoy the majesty, ritual, and passion that some religious work embodies but I am not a religious person at all. 

The entrance to the "grotto"

I was shopping at an antique store in the final hours of it going out of business. Unbeknownst to me, the owner put two plaster statues in the boxes I was filling. When I got home and unpacked them I put them in a spare half-bath in my apartment – #outofsightoutofmind;  I thought. Soon another small piece joined them. Then friends starting bringing pieces by and The Grotto was born. I've also added fine art pieces to the mix and now over 300 items make The Grotto a destination visit. 

It has been a fun art installation to have in my home, and although respectfully done, it is a huge source of entertainment for visitors. I'm open to visitors if you contact me to arrange a time to drop by.

I know that you have an special taste for emerging artists’ work. I feel like you buy art as a way to push their careers, to make them feel like their work is not forgotten. Are you conscious about this or do you have another indirect mandate or reason to support emerging artists?

There is a slight selfish element to it, I want to live in a city that has a vibrant arts community. That requires artists who make art and people who buy it. Art-making is expensive, emotionally demanding, and a hard way to make a living. Emerging artists don't always produce their best work at the beginning, but they cannot get to that best work if they give up, or have to give up.

The confidence it can give them to keep on trying is priceless. The purchase helps them get supplies and more than once has put dinner on a table.

I like to promote the artists I support. I take pictures of the shows I attend to encourage others to check them out and to support the artists in the community. Recently I've organized some art shows for artists and will be doing more of this in the future. 

I don't buy for financial investment, I don't worry that it might not be their life's “best work”. The return I get on the psychological and emotional investment is the rich reward. Plus I get the joy of living with the art ! 

The bedroom featuring Natalie Grice deer sculptures

You have made art and even exhibited some of your works. Has this changed your appreciation about artists and their work?

Yes, the act of art-making and exhibiting does give you a greater appreciation for the effort that goes into making and selling; especially the aspects the buyer usually does not see – the failed efforts, the anxiety, the compromises, the amount of materials/time a “simple” project requires. It has made me a bit more critical, but on the whole it made me more sympathetic

Do you have any tips for someone that is interested in becoming a collector?

Buy what you like, what you can afford, and what you can live with every day. Buy work that challenges you, not just work that looks nice on the wall.

As you collect, you will find pieces change each time you hang a new piece nearby. You don't have to frame everything, get portfolios to house your unframed works on paper and keep them out where you can see them. Almost every piece I have has a small story that goes with it – something the artist said, something that happened at the show or the purchase. Visit the artists' studio if you can. Learn how your piece fits into where they are going with things. Do not think of the art as an object, think of it as an investment in the artist and the arts community.

Do you have any advice for emerging artists?

Yes. Too many artists, especially emerging artists, are their own worst enemies. If you see me looking at your work come over and speak to me. Ask me what I think of the piece. Be prepared to tell me something about it – why you made it, how you made it, what it means to you. It does not have to be impressive. More than once, the conversation with the artist has nailed a sale I was prepared to walk away from.

Price your work according to where you are in your art practice and what will make it attractive to buyers. Many potential buyers are nervous about buying new artists' work – being vouched for by a collector who has it on their walls can stimulate interest in your work.

There is, wonderfully, no lack of art work available in the City these days! The market is competitive. 

Living room with salon style walls

Do you have any other comments or do you want to add anything else?

Don't avoid collecting art because you think it has to be expensive or give back a big financial return. My collection is both worthless and priceless.

Art is meant to be seen. Don't confine yourself to one piece for each wall. Collect for the love of supporting the arts and the joy of having it to see and share. 

Artworks leaning up against Bill's wall waiting to be hung! 


Thank you Guillermo for conducting this interview and many thanks to Bill Staubi for giving us insight into his world and many wise words about collecting art.

Reading Bill Staubi's thoughts on collecting art was warming and emphasizes the importance of supporting the local art scene through artists. We welcome any and all questions regarding these topics and the artists that we represent. You can contact us through email at or you can contact our director, Carrie Colton, directly at 613 355 0359 or 


Edited for brevity.


Posted on June 28, 2019

Our present exhibition THRĒO, features MaryAnn Camps, Barbara Brown & Angelina McCormick

Studio Sixty Six is excited to introduce you to three Ottawa, women artists who all work with photo-based processes in innovative ways. Here we provide you with a brief explanation of each artist's technical process used to create these exciting and provocative artworks. 


MaryAnne Camps. Morning 4th & King #3, Acrylic photo image transfer on duralar

In MaryAnn’s work the acrylic transfer captures time unstopped. The monoprints in this body of work are made by manually transferring laser printed photographs to Duralar, a dimensionally stable and archival translucent polyester film. The laser toner transfers into an acrylic medium 
on the plastic film, after which the layers of paper are carefully peeled and then completely rubbed off. The resulting image is akin to the subject of the work; the tears and marks left by the transfer process provokes an experience rather than a freezing of these morning commutes of the subjects captured. The imperfections become a patina integral to the work.



Barbara Brown. Oriental Poppy, Archival pigment print on cotton rag

One would imagine the studio of Barbara Brown to resemble that of a botanist. Something more along the lines of scientist become artist. But of course, the sciences and arts are not as distant as people think. The intense fascination with the most minute details, and the need to pull something apart–the need to understand it– lies at the core of both disciplines.

Barbara Brown’s process begins with observation in the garden. At a particular moment when the sun is at a low angle, either at dawn or dusk, leaves and flowers are illuminated from behind causing a particularly stunning moment. Having seen and experienced this in the garden, Brown is intent on recreating this effect by backlighting the plants she works with. Using a light table, Brown creates the composition and photographs it from above.


Angelina McCormick. Italia No.7, Inkjet print on Epson Hot Press Natural

In McCormicks blurred photographs of curious landscapes and still lifes the living quality of McCormicks subjects are amplified. The hand of the artist is omnipresent in her work, giving life to living dreams and hybrid creatures.

McCormick built a medium format film pinhole camera to capture the moments of life in Italy that collided with scenes from her past. With a pinhole camera the photographer must manually remove the material (the shutter) they have used to cover the pinhole (the lens.) The results cannot be reduced to a technical or mechanical method. The need to hold still for an entire minute to capture these photos and lack of viewfinder means that McCormick could not see what she was photographing, giving her permission to take in the moment and capture an experience at the same time.

Angelina McCormick. Chemigram Landscape No. 1, Inkjet print on Epson Hot Press Natural

Chemigrams are a process that uses the darkroom chemicals to paint on photographic paper. Resist, developer, stop, and fix are painted on with brushes in the light, pushing and pulling the chemicals to create movement, staining the paper as the contrast of chemistries both initiate and then stop the development. With the particular paper used in this process, McCormick cannot permanently fix the silver gelatin paper and protect the colours so they are scanned and then reprinted to preserve them.

Show Runs: June 14 - July 28


Posted on June 01, 2019
When you buy a new, beloved artwork, it is advised to invest in framing. Here the word invest is intentional; framing costs might seem high, but they are an investment towards ensuring that your piece will show well and has proper protection. It is possible to buy pre-made frames but the range of options is limited to standardized sizes and colours.  Custom framing is always a preferable option.

The benefits of custom framing are worth the cost. When working with a good framer, you will get excellent advice with framing choices and materials, as well as quality work.

A few of our favorite Ottawa framers:
Wallacks Framing
Patrick Gordon Framing
Central Art Garage


Framer Morgan Wallack of Wallacks Framing is not only a pro but she's also an artist so she can really help you choose the best frame for your artworks!

The first step to custom framing is making sure you go to a reputable framer. Ask around and get recommendations. Ottawa has many great framers to choose from!


Florence Yee
painting framed with a brushed gold floating frame. Framing by Wallacks Framing.

When making your framing decisions you want to be sure that the materials compliment the work instead of fighting for attention. A useful way to approach this is to think of the matting and framing as an extension of the artwork, rather than just a vessel through which it can be displayed. Neutral coloured mats, off-whites, and creams are a versatile choice that can be successfully used in most cases. However, if you are looking for some colour then look for recurring notes in the piece you are getting framed. Consider a subtle and lighter complementary colour. Regardless of the colour you choose, mattes in a lighter shade are generally preferable and give the work some space to breathe.

We chose a soft dove grey matte here with a deep brown wood painted frame to compliment this illustration. Framing by Wallacks Framing.

More dramatic and ornate framing benefit some pieces while others need a subtle and modern frame. Think about how strong the piece is visually and whether a bold frame will better the piece or overwhelm it. If so, step down to a frame that is lighter in colour or width.

It is always helpful to ask the framer’s advice. They are well equipped to make recommendations based on the piece, where you will be hanging it, and the aesthetic you are looking for.  


Rémi Thériault, Vimy Memorial, photograph in a modern white shadow box frame with UV plexiglass.
Framed by Patrick Gordon Framing.

Glass may be clear, but it isn’t any less important to framing. Your choices of glass make a crucial difference in the appearance of the work and the longevity of it. Regardless of the quality of glass or plexiglass, non-glare glass is preferable. Museum glass has higher archival properties, including a conservation grade UV coating and stronger prevention of glare and reflections. Museum glass is the gold standard, but plexiglass is less expensive and lighter. Plexiglass also supplies an anti-reflective surface that filters out 50-75% of UV rays. Consider these differences when making your framing decisions as they will affect the cost and appearance of the final product. Museum glass may be the ideal material, but plexiglass is still a good option if you are looking for a lower cost or have weight restrictions for hanging. 


Amy Thompson artworks, beautifully custom built and framed by Danny Hussey, Central Art Garage are a true extension of these artworks.

It is important to note that your choice of frame will greatly impact the feeling and aesthetic of the room in which it is hung. Be mindful of the space in which you intend to hang it as well as how you want it to feel, and of course what the piece itself evokes. White or black frames generate a modern and powerful aesthetic. For a softer vibe, try light coloured, pale woods. A middle ground would be medium to dark neutral woods.

Classic black, natural wood, and white frames are our favourites in general. They have a wide application and reflect the contemporary aesthetic in our gallery. 

Christine Fitzgerald's Threatened series framed in white shadow box with UV plexiglass. Wallacks Framing

It's very satisfying to see a piece you love accentuated by good framing! Use these tips as a starter as you get introduced to the wide world of framing. 

You can also call Studio Sixty Six’ director and designer Carrie Colton for more information. You can reach her at 613 355 0359 or by email at and she will happy to guide you further. 

How to Build an Art Collection

Posted on June 01, 2019

The building of an art collection is influenced by a number of factors. Some consider their collection to be personal, an extension of themselves. Others may seek a more formal collection that is a reflection of more focused factors, such as exclusively contemporary Canadian artists. Regardless of intentions we want all of those who visit us at Studio Sixty Six to have the tools they need to make their own decisions about art, to build a collection that resonates with them and is an ongoing source of joy and pride. So for our monthly compilation of Carrie Colton's Art Tips (featured on our instagram story highlights,) we have focused on what it means to build a collection–where to start and how to make decisions. 

Buy From the Heart

Troy Moth, Burnt series, photographs. Rémi Thériault, Front series, photograph

Arguably the most important factor in building an art collection, or at least what should be at the core of it – buy from the heart! Regardless of the formal and technical values that we can lay on art, we believe that the main reason to buy a work of art should be based on whether you love it or not.

Take Your Time and Research

Leslie HossackKosovo series, photography

Part of buying from the heart is also finding out what you love and why you love it. So take your time and do some research. Start following the instagram accounts of artists, art galleries and visit local galleries who can answer your questions. Make this a fun process of discovery! 

Why Do You love It
Rémi ThériaultFront series, photography

We mention that it is important to find out what you love and why you love it. Of course, that’s an easy question to understand, but it can be difficult to put your feelings about art into words. Here we have some questions that can help you get started in this process

  • Does it remind me of my own stories?
  • How does it make me feel?
  • Do I like it for the ideas it communicates
  • Is it that it’s old, new, local, foreign, big, small, round, square, etc…?
  • Does it inform my perspective on some aspect of my life?
  • Does it portray or present things in new and interesting ways?

Other Factors

Amy Thompson, Monument series

After the emotive qualities of work, you can also consider the technical factors that can affect the price of work. This is important to consider as it will affect your decisions whether you are conscious of investing in collection or working within a budget.

The rarity of a piece will greatly impact the price. A print edition that is 1 out of 100 will be priced significantly lower than a piece that is one of a kind. The medium of the piece will contribute to the pricing as well. A work on canvas is often more valuable than one on paper. Both of these factors are also greatly impacted by the artist’s career and the gallery they are represented by. A well established, award winning artist who has a respected reputation will be priced much higher than an emerging artist who is just starting to exhibit their work. This reputation will be amplified by the gallery. A reputable gallery provides you with a guarantee of the value of your art purchase. Furthermore, galleries are built by the discerning tastes of their curators and/or directors, providing the gallery with a personality that can help you find styles of work that you like. For example, some galleries may be more contemporary with variety of mediums, while others may be more traditional, or exclusive to one medium. It is very helpful to be aware of the reputation of the gallery you are buying from and what styles they lean towards.

Considering Budgets

Guillermo Trejo"It is about Plants, Modernism and Other Things" series, wood cut prints

Perhaps the most disliked, but certainly the most unavoidable, determining factor of building an art collection–the budget. Setting a budget and understanding what you are comfortable spending on art will be an immense help whether you are deliberately building an art collection or if you are just looking to buy a piece here and there. It is helpful to work within these constraints. If you fall in love with a piece it is okay to splurge (if you are able to,) but the last thing you want to experience is buyers remorse over something that should bring you joy.

These five base elements to building a collection can strengthen your collection and provide insight into the art you like, as well as the art market itself.

As always, you can call Studio Sixty Six’ director and designer Carrie Colton for more information. You can reach her at 613 355 0359 or by email at



Studio Sixty Six is a contemporary art gallery devoted to showcasing unique, thought-provoking Canadian art located at 858 Bank Street, Suite 101, in the Glebe. This is our official blog, where we share what's happening at the gallery, as well as in the broader fine art and design communities of Ottawa.

Recent Posts

Guillermo Presents: Rupert Allen
Posted on September 18, 2019
Guillermo Presents: Bill Staubi
Posted on July 23, 2019
Posted on June 28, 2019