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Satellite Project Space

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Satellite Project Space

SATELLiTE Project Space is a partnership between London, Ontario, arts institutions: Fanshawe College and Western University

SATELLiTE Project Space is a dynamic partnership between three significant London, Ontario, arts institutions: Fanshawe College, Museum London, and Western University. The mandate of SATELLiTE is to provide a flexible space for new and temporary projects, collaborations, and experiments in the arts and culture. The three institutions collaborate in the planning of yearly programming and student in

volvement, and in the production of exhibitions. As a result, students and the public are introduced to a multiplicity of approaches to contemporary art and culture, exhibition curatorship, and programming in the arts. SATELLiTE Project Space provides learning opportunities and mentorship for arts students in London: in education, curatorial work, exhibition and event programming, and arts administration, and invites the larger community to experience and participate in these programs. SATELLiTE is a testing ground for new projects and partnerships, programs, residencies, art works and performances – by students, community members, curators, and professional artists.

09/02/2026

Our thanks to TAP for hosting "DOWN BAD" a solo show of work by artist Moira Hayes.

This exhibition was the culmination of Hayes’ MFA thesis work. Through multi-mediacollage, sculptures, text pieces, and quilts, Hayes invites the viewer into their Faustian Bargain narrative, a maddening journey to make a deal with th Devil. The exhibition explores how comfort fits into a life without financial stability, a steady job, home ownership, and mental well-being. While the mission is set, the viewer is challenged to determine what the true value of a human soul is, and who the Devil might actually be.

Moira Hayes is a Canadian artist from London, Ontario. Hayes’ work utilizes a q***r lens to explore the intersection of the canon of fine art and the inherent silliness of existence. By combining the historic canon with post digital media, Hayes pose the question of who determines ‘good’ or ‘bad’ art, and why (or if) the answer matters.

mo-i-ra WesternU Visual Arts TAP Centre for Creativity

August 18-29, 2026
Reception: Thursday, August 18 from 5-7PM
Satellite at TAP Center for Creativity | 203 Dundas Street
📸 Dickson Bou, artLAB Preparatory

Presented by student from Department of Visual Arts and SASAH at Western University. Thanks to the Faculty of Arts and Humanities.

08/10/2026

Join us for the opening reception of DOWN BAD, a solo presentation by MFA candidate Moira Hayes, on Thursday, August 20 from 5-7PM at TAP. The exhibition continues until August 29th.

Of the exhibition Hayes writes:

DOWN BAD is the culmination of local artist Moira Hayes’ MFA thesis work. Through multi-mediacollage, sculptures, text pieces, and quilts, Hayes invites the viewer into their Faustian Bargain narrative, a maddening journey to make a deal with th Devil. The exhibition explores how comfort fits into a life without financial stability, a steady job, home ownership, and mental well-being. While the mission is set, the viewer is challenged to determine what the true value of a human soul is, and who the Devil might actually be.

Moira Hayes is a Canadian artist from London, Ontario. Hayes’ work utilizes a q***r lens to explore the intersection of the canon of fine art and the inherent silliness of existence. By combining the historic canon with post digital media, Hayes pose the question of who determines ‘good’ or ‘bad’ art, and why (or if) the answer matters.

mo-i-ra WesternU Visual Arts TAP Centre for Creativity

August 18-29, 2026
Reception: Thursday, August 18 from 5-7PM
Satellite at TAP Center for Creativity | 203 Dundas Street

Presented by student from Department of Visual Arts and SASAH at Western University. Thanks to the Faculty of Arts and Humanities.

07/08/2026

In Between Lights explores how alternative photographic practices translate time through light, material, and transformation. The exhibition features the work of Ursula Handleigh, Julia Rose Sutherland and Michael Flomen and is curated by PhD candidate Yijing Li. It runs from July 9–23, 2026 at artLAB Gallery, with an opening reception on July 9 from 5:00–7:00 PM. Ursula Handleigh Julia Rose Michael Flomen, Artist. Yijing Li

Curator Yijing Li has written about the exhibition for SATELLiTE: In Orbit. We’ll be sharing excerpts of her text here and images by the artists. Read the full text on our website (link in bio).
—
In the work of Julia Rose Sutherland, family photographs migrate onto hand-peeled birch bark, a material that bears its own histories, markings, scars, and vulnerabilities. The bark resembles skin—not only visually, but conceptually. Like skin, it records encounters. It carries traces of growth, weather, touch, and time. Marked by its relationship to the land, the birch bark becomes more than a surface for receiving images; it becomes a living body that remembers.

Photographic images arrive not upon a neutral support but upon a material already shaped by experience. Family histories move from paper to bark, from one generation to another, from one body to another. The work is further held together by hand-sewn beadwork that traces its edges, while deer hide on the reverse introduces another living material into the photograph’s structure. In this translation, memory is not preserved unchanged. It settles into surfaces that continue to age, mark, and transform. Like skin carrying scars and traces of lived experience, the birch bark carries memory forward without holding it still.

Image: Julia Rose Sutherland, Ala’toq “carry with you.” Photo transfer on birch bark, deer hide and beads. 2026. Light carries family photographs onto hand-peeled birch bark, deer hide, and beadwork, where memory is continually rearticulated rather than preserved unchanged.

07/06/2026

In Between Lights explores how alternative photographic practices translate time through light, material, and transformation. The exhibition features the work of Ursula Handleigh, Julia Rose Sutherland and Michael Flomen and is curated by PhD candidate Yijing Li. It runs from July 9–23, 2026 at artLAB Gallery, with an opening reception on July 9 from 5:00–7:00 PM. Ursula Handleigh Julia Rose Michael Flomen, Artist. Yijing Li

Curator Yijing Li has written about the exhibition for SATELLiTE: In Orbit. We’ll be sharing excerpts of her text here and images by the artists. Read the full text on our website (link in bio).
—
Ursula Handleigh’s practice invites us to inhabit its rhythms through life cycle.

When I visited Ursula Handleigh’s studio, I found myself thinking less about photography and more about the rhythms of everyday life. Her works emerge slowly through sunlight, plant-based photographic processes, and repetitive gestures of labour. Contact prints of banana leaves are exposed in natural sunlight, developed through a solution made from banana leaves, cut into photographic strips, and woven together through the Indigenous Matrilineal Filippine craft of Banig, passed down through her maternal lineage. Photography does not end when the image appears. It continues through the hands. Fragmented images slowly become a cohesive whole. The rhythm of weaving unfolds between conversations, caregiving, meals, household work, and changing weather. Over, under, pull, tighten, repeat. Each gesture accumulates. Each movement carries memory forward.

Image: Ursula Handleigh, Banig in making, 2023-Present, Woven Silver Gelatin Prints, Through sunlight, plant-based photographic processes, and hand weaving, Banig translates time into an image that continues to unfold through labour, memory, and transformation.

07/02/2026

In Between Lights explores how alternative photographic practices translate time through light, material, and transformation. The exhibition features the work of Ursula Handleigh, Julia Rose Sutherland and Michael Flomen and is curated by PhD candidate Yijing Li. It runs from July 9–23, 2026 at artLAB Gallery, with an opening reception on July 9 from 5:00–7:00 PM. Ursula Handleigh Julia Rose Michael Flomen, Artist. Yijing Li

Curator Yijing Li has written about the exhibition for SATELLiTE: In Orbit. We’ll be sharing excerpts of her text with images by the artists. Read the full essay on our website (link in bio).

—
For much of photography’s history, light has been understood as a tool—a means of recording, preserving, and fixing the world before it disappears. Through light, photographs promise to archive what would otherwise be lost, transforming fleeting moments into evidence and memories into objects that can be revisited.

Yet light has always existed before photography. Long before the invention of cameras, light was already moving across landscapes, touching water, stone, leaves, skin, and bodies. [...]

In Michael Flomen’s studio, we spoke about fireflies. They are only one constellation within his larger body of work, yet they became the point from which our conversation unfolded.

His photograms are not photograms of fireflies. They are photograms made with fireflies. The insects are not subjects positioned before a camera; their bioluminescent movements generate the image itself. Light traces its own path across photogram. Looking at these images, I was reminded of László Moholy-Nagy’s belief that photography could reveal dimensions of reality inaccessible to ordinary perception. Yet Flomen’s work seems to push this proposition further. What remains on the photogram is not a frozen instant but the accumulation of movements through darkness. Time leaves a trace.

Image: Michael Flomen, Untitled III, 2025, Archival Pigment Print. Fireflies become collaborators in image-making, allowing light to trace the passage of time across photogram.

06/22/2026

"Polygraphia — A Language Passing" featuring work by PhD candidate, Xi Jin continues at TAP!

Born in Beijing, China, Xi Jin is a PhD student in Visual Arts at Western University. Her research and artistic practice explore language, cultural translation, and the limits of understanding. Presented at TAP Centre for Creativity in London, Ontario, "Polygraphia — A Language Passing" explores language as a material and operational system rather than a fixed tool of communication. Through installations combining found objects, printed matter, and spatial structures, the exhibition examines how meaning emerges through arrangement, repetition, and encounter. Drawing on ideas of cultural translation and lingua franca, the works reflect on the unstable relationships among words, objects, and understanding, in which meaning remains partial, negotiated, and continually in motion.

🗓️ June 10-June 20, 2026
☕️ Reception: Wednesday, June 10 from 6-8PM
📍 Satellite at TAP Center for Creativity | 203 Dundas Street

06/11/2026

Many thanks to those who came out to our opening receptions last night! "Breaking Through Visual Noise” with work by members of the London Camera Club, was co-curated by Yijing Li, Promise Chen, Ta Gao, Ellie Marie Smith and Maya Allison.

And "Polygraphia — A Language Passing," features work by Xi Jin, PhD Candidate.

Both exhibtiions run concurrently from June 10 – 20, 2026 at TAP Centre for Creativity.

Presented by SATELLiTE and organized by the Department of Visual Arts / SASAH at Western University. Supported by the Faculty of Arts and Humanities. Thanks to TAP for coordinating and hosting!

London Camera Club🇨🇦
Yijing Li
TAP Centre for Creativity
promise
TAP Centre for Creativity

WesternU Visual Arts
SASAH Western University

06/05/2026

Please join us for the opening of "Breaking Through Visual Noise" at TAP on Wednesday, June 10 from 6-8PM. Curated by Yijing Li, Promise Chen and Maya Allison, this exhibition features work by Ta Gao, Ellie Marie Smith and members of the London Camera Club.

In an age of digital information overload, where attention is increasingly shaped by rapid scrolling and continuous visual stimulation, Breaking Through Visual Noise invites viewers to slow down and engage more deliberately with photographic images.

Photography, through its act of framing, both arrests and extends time. It captures fleeting moments while encouraging sustained observation, transforming everyday encounters into opportunities for reflection. Across landscapes, urban environments, and intimate details often overlooked in daily life, the photographs in this exhibition reveal how repetition can become cyclical rather than mechanical, creating space for difference, discovery, and renewed attention.

Featuring works by photographers and visual storytellers from across Southern Ontario, the exhibition is organized into four thematic chapters: Monochrome Vision, Macro Detail, Seasonal Rhythms: Cycles of Change, and Clash: When Nature Meets Urban. Together, these sections explore different ways of seeing, encouraging viewers to pause, observe, and reconsider the visual experiences that often pass unnoticed.

Rather than competing with the speed of contemporary image culture, Breaking Through Visual Noise offers an immersive space for contemplation, inviting audiences to rediscover the possibilities of mindful looking through the photographic medium.

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chan

🗓️ June 10-June 20, 2026
☕️ Reception: Wednesday, June 10 from 6-8PM
📍 Satellite at TAP Center for Creativity | 203 Dundas Street
🖼️ Kyle Van Alstyne, Break Through, 2025, photograph.

Presented by student from Department of Visual Arts and SASAH at Western University. Thanks to the Faculty of Arts and Humanities.

06/04/2026

Please join us for the opening of "Polygraphia — A Language Passing" featuring a solo presentation of work by PhD Candidate, Xi Jin. Join us at TAP for the reception on Wednesday, June 10 from 6-8PM.

Born in Beijing, China, Xi Jin is a PhD student in Visual Arts at Western University. Her research and artistic practice explore language, cultural translation, and the limits of understanding. Presented at TAP Centre for Creativity in London, Ontario, "Polygraphia — A Language Passing" explores language as a material and operational system rather than a fixed tool of communication. Through installations combining found objects, printed matter, and spatial structures, the exhibition examines how meaning emerges through arrangement, repetition, and encounter. Drawing on ideas of cultural translation and lingua franca, the works reflect on the unstable relationships among words, objects, and understanding, in which meaning remains partial, negotiated, and continually in motion.

🗓️ June 10-June 20, 2026
☕️ Reception: Wednesday, June 10 from 6-8PM
📍 Satellite at TAP Center for Creativity | 203 Dundas Street

04/06/2026

Newly online for SATELLiTE: In Orbit, Katelyn Halter reviews “Grounding: States of Gender.” This recent exhibition if work by Gita Hashemi was curated by Soheila Esfahani for the artLAB gallery. Katelyn writes:

There is a temporary but obvious obstacle to most viewers when first entering the space: the language barrier. The majority of those who view this piece likely do not speak Persian, much less regularly read Persian calligraphy enough to understand what is written on these scrolls. Hashemi, however, has a remedy for this. Tucked away in a small, rectangular alcove to the right of the space is a small coffee table surrounded by cushions. Laid upon the coffee table are three booklets, within them being direct English and French translations of the calligraphy written on the scrolls. It was upon reading the 30 page translation that I truly learned how impactful this work was. The auto-ethnography is raw and unfiltered. Its contents are graphic, but not for the sake of the viewer’s shock or discomfort. It is documentation of gender-based violence and abuse in its purest form: a first-hand account spanning decades of Zahra’s life. […]

After reading the translated auto-ethnography I was left with a dull, lingering ache in my chest. I was crushed by the experiences Zahra was forced to undergo, but I knew it didn’t just end with her. Her experience is, unfortunately, not uncommon, and that was what made that pain in my chest linger. This exhibition shines a light on the ugly reality that remains so prevalent worldwide, but that so many refuse to acknowledge fully. Not only is the viewer of Hashemi’s work stunned and made uncomfortable by this transcribed account, but they are almost forced to bask in it.
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Read Katelyn’s full review online (link in bio). .esfahani .halter

Images: Gita Hasemi, “Grounding: States of Gender,” artLAB, documentation by Dickson Bou.

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London, ON
N6A1G1

Opening Hours

Wednesday	2pm - 7pm
Thursday	2pm - 7pm
Friday	2pm - 7pm
Saturday	12pm - 5pm

Website

http://satelliteprojectspace.com/

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