Studio Sixty Six


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


How to Hang Your Art Like a Pro

Posted on April 04, 2019

Painting by Studio Sixty Six artist Florence Yee, framing by Wallacks Framing

Art Collections are built with passion and selected based on personal taste and interest. More often than not it results in an ever-growing collection but your walls aren’t growing with it. So how do we mitigate this problem while also presenting the work in its best light? Whether you are hanging your first piece in your home, adding to a growing collection, or rehanging a well-developed collection it is beneficial to know the standard rules of hanging, when to break them, and how to arrange work in a polished and focused display. 

Art galleries such as Studio Sixty Six are well-versed in the practice of hanging art and while we do offer advice and services, such as hanging work and curating collections in homes and offices, we want to help you learn about hanging practices and how to do it yourself. We’ve collected our March hanging art tips and compiled them into a handy blog post.
Painting by Studio Sixty Six artist Natalie Bruvels

The ‘where’ of hanging work involves more than just choosing the room and wall where it will be placed. There are many decisions that need to be made for an artworks placement. We have provided you with a couple of starting points that will take the guesswork out of your hanging placement. 
Height Standard and Mid Points: 
The basis for hanging work is finding the middle point of the work and knowing the standards. The general standard for hanging height is 56-60 inches. (Roughly the eye level of your average person.) What this means is that you want the middle point (in height) of the artwork to hit 56-60 inches high on your wall. Here’s a list to use as a quick guide for this:
1. Where 56-60 inches from the floor up is on your wall.
2. Measure the total height of the piece you are hanging.
3. Divide this in half and measure that amount up from your original mark.
4. Find out where the hanging hardware sits in relation to the top of the frame. (ie: hang ing wire, hold as though it were being hung and measure the distance between the top, middle of the wire and the top of the frame.)
5. Measure this distance down from the last mark.
6. Install so that your hanging hook’s bottom sits at this mark. 
Exceptions: When to Break the Rules? When Hanging Above Furniture!

Painting by Studio Sixty Six artist Yvonne Wiegers

In cases where the work is being hung above the furniture the height standards will be different. Instead, position the work so that the bottom of the frame is 8 to 10 inches above the furniture piece. You want the artwork to be visually connected instead of floating high above. 
Printmaking on fabric by Studio Sixty Six artist Guillermo Trejo


If you’re struggling to decide where to hang multiple works and which of them to hang, the good news is that you don’t have to choose just a single one. Create groupings instead to present dynamic displays. This can be done by working with colour schemes, styles, themes, and more. Below we outline a few different ways to do this with examples. 
Example 1: Colour, Material, and Style
This example focuses on colour, material, and style. These pieces have similar colours as well as similar formal elements. While these similarities allow the work to coexist, the textural and material differences produce a subtle contrast that adds visual interest to this grouping.
Painting by Studio Sixty Six artists Gabriela Avila Yiptong and fabric artist Allyson Rousseau

Example 2: Monochromatic Colour Schemes

In this second grouping, you can see that the works play well together because of their similar monochromatic colour schemes. Visual interest is added through the differences. In this case, it is added through complimentary framing.

Example 3: Colour
Photo by Yannis Sourris, Collage by Studio Sixty Six artist Amy Thompson

Grouping artwork together by colour can produce a variety of moods. This can be done by focusing on a shared colour between the pieces themselves or working with an overall colour scheme between the works in your collection and your wall/decor colours. Shared colours in decor can emphasize the colours in the work and the mood in the room. This example utilizes the shared blue of these photo-based works along with the wall colour to create a serene and calming atmosphere.

Example 4: Group Artworks on a Shelving Unit or Bookcase

bookshelves give you the luxury to play with layers. Lean artwork along the back of the shelves, and anchor them by placing a few small pieces of art near the front of the shelves to give them depth. Here we have a combination of monochromatic artworks and small paintings that compliment the back of the shelving unit.  

Photo by Studio Sixty Six artists Troy Moth, sculpture Susan Roston, paintings Gabriela Avila Yiptong, Custom Shelving Unit by Janise Saikaley

We hope this was helpful. Now go enjoy hanging and putting your art on display! If you'd like more information, call
Studio Sixty Six' director and designer Carrie Colton, at 613 355 0359 or email her

Gaa-mazinaateseg & Animikiig - Christian Chapman
September 6th - October 7th

Posted on September 04, 2018


André René Roussimoff, 2018.  Mixed media on canvas. 

Running from September 6th until October 7th, Christian Chapman’s Gaa-mazinaateseg & Animikiig features a series of paintings and prints that predominantly focus on the artist’s memories of the times spent with his grandmother, Angelique, with whom he lived throughout his childhood.  Translated from Anishnaabe as “Television and Thunderbirds”, Gaa-mazinaateseg & Animikiig celebrates and critiques the pop culture figures Chapman grew up watching, including André the Giant and Princess Diana, while exploring the teachings and stories that helped shape his identity and artistic practice.  The artworks within Gaa-mazinaateseg & Animikiig are divided into two main themes, with the paintings exploring the cultural impact of televised media through the artist’s lens, and the prints focusing on the stories and oral traditions learned from his grandmother.


Skoden 1, 2018. Screenprint on paper; Edition of 15. 

The winner of the 2016 Premier’s Award for Excellence and the K. M. Hunter Artist Award, Christian Chapman is an Anishnaabe artist from Fort William First Nation. He creates two-dimensional mixed-media artworks that combine elements from printmaking, painting, drawing, and computer-manipulated images, while using storytelling as inspiration for his compositions.  The act of storytelling has played a crucial role throughout his life by informing him of his culture, and by shaping his identity, worldview, and personal experiences. 

Ziibaaska'iganagooday, Jingle Dress Dancer 2 (Known as the Medicine Dress), 2018.  Screenprint on paper. Monoprint.

For additional information about Christian Chapman:


IN DETAIL - Kristina Corre, Amy Barker, Kathryn Shriver
July 13 - Sept. 2nd 2018

Posted on August 12, 2018

Kathryn Shriver, Floating Display (2018). Mixed media: hand-woven glass beads, jewellery chain, found tray. Tray: 1 x 12 x 4in. / 2.54 x 30.48 x 10.16cm. Beading and chain: 42in. / 106.68cm hanging (variable).

Currently on display from July 13th until September 5th, the IN DETAIL exhibition examines the communal history of sewing, needlework, and textiles while challenging traditional conceptions of craft, raising the ordinary to the extraordinary.  Featuring the work of multimedia artists Kristina Corre, Amy Barker, and Kathryn Shriver, they explore the various cultural styles of guild work, traditionally secularized as being distinct from the realm of Fine Art as well as deemed “women’s labour”, while incorporating aspects of contemporary design to make a strong statement about the intersectionality of women’s art.

Kristina Corre, Vero (2018), Collage: Found images, ribbon, brass ring, thread and stone and vellum on watercolour paper. 18 x 22in. / 45.72 x 55.88 cm.

A life-long imaginer of new worlds, Kristina Corre is a Filipina-Canadian artist and architecture graduate whose meditative collage works explore cultural and personal identity.  She received a Bachelor of Architectural Studies and Master of Architecture degrees from the Azrieli School of Architecture and Urbanism at Carleton University in Ottawa.  Kristina’s architectural education and background instilled a meticulousness in her artistic practice, a love of materiality, and the importance of narrative within her image-making, threading compelling collage elements into her uncluttered compositions.  Her featured collage series Cat’s Cradle (2018) employs minimalist design to explore the notions of both giving and taking up space.

Amy Barker, Entwined 3 (2018). Print, hand-pulled linocut on paper, 15 x 22in. / 38.1 x 55.88cm.

Amy Barker is an emerging, multidisciplinary visual artist and art educator based in Ottawa, Ontario.  She received a B.F.A. Honours from the University of Manitoba and a Postgraduate Certificate of Education in Art and Design from Goldsmiths, University of London, England.  With a background in photography, sculpture, and printmaking, Amy’s work explores the emotional and physical connections one has to their own past, themselves, and to the people who influence and inform the person they become.  Her printed series, Entwined (2018), features the artist wrapping herself in various woven artworks of the women who have touched her life, including her family and close friends. 

Kathryn Shriver, Gold Fold (2018). Mixed media: hand-woven glass beads, brass handle, acrylic paint on wooden panel. 9 x 7 x 3in. / 22.86 x 17.78 x 7.62cm.

Kathryn Shriver’s handmade beadwork strings together beads in a beautiful yet disquieting exploration of cultural creativity and dismantles the hierarchy between Art and Craft. She received an MFA in Painting and Drawing from Concordia University in Montreal and a BFA in Studio Arts from Wells College in Aurora, NY, and has also studied New York and Paris and exhibited throughout Canada and the United States.  Through her utilization of painting and design techniques, Shriver’s work focuses on the ways in which materials themselves and making processes can influence public perception and valuing of made works along the shifty spectrum of Art and Craft.  Her beaded paintings, or ‘wall jewellery’, examine craft methods and materials of fashion and interior design industries and how they raise three major points of contention within the art world – that of decoration, function, and trendiness.

Corre, Barker, and Shriver undertake a quest that focuses on bringing attention to the historical and cultural significance of Craft, and assert its importance by incorporating a mixed-media format.

NEW BEGINNINGS: our 1st 3 months in our new digs!

Posted on June 27, 2018

Spring is always a season of new beginnings but this spring had a special spirit of rejuvenation for us!

On April 1st Studio Sixty Six officially opened on 858 Bank St., in a central Glebe location and starting a new era in our journey within a rapidly diversifying Ottawa art scene. Since then we’ve been settling in with the help of some of amazing artists. We were fortunate enough to have Troy Moth’s striking black and white images of our North American wilds in tandem with Yvonne Wiegers meticulously created vivid abstracts, adorning our freshly painted walls as we opened our doors in a bright new space.

After an amazing opening show, Manon Labrosse came in like a whirlwind to paint a gorgeous mural on our wall for our second exhibition, Post: Neo. Transforming our gallery into a forest of colour that was perfectly complimented by Julia Campisi’s powerful vintage photographs. Her work a commentary on cultural and social dynamics as they shift through the ages.

Our current show, Feminine Redux, which exhibits two inspiring and vigorously distinct women, Ruth Steinberg and Lori Brethour Coulter, both with completely unique methods of expressing themes of vulnerability, injustice and vigour, has moved us deeply. And we have loved sharing these strong messages and connections with each person who has come in to visit and been struck, as we were, by their visuals.

The surrounding community has been so welcoming and supportive in propelling us forward in this move and making us feel completely at home already. We’ve been elated to share this new chapter with many new as well as familiar faces and have been blown away by lovely features in both the Glebe Report and Apt613.

But no time to rest! Our next exhibition with artists Amy Barker, Kristina Corre and Kathryn Shriver is taking shape already and as the spring fades into summer, the warmth of a new home is enveloping. 

If you've yet to visit us at our new location we'd love to have you stop by! 

New Gallery Hours:
Wednesday, Thursday, Friday 12:30am-6:30pm
Saturday, Sunday 11:30am-5:30pm
Monday, Tuesday by appointment - gallery mobile: 613.355.0359

Friday Social: (This is a great time to drop by!)
Every Friday; complimentary wine, Flora Hall beer and chai tea, 3;30pm - 6:30pm




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.

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