About
These wall reliefs explore the relationship between drawing and sculpture, using clay to think through structure and perception. Built from hand-formed coils, slabs and modular elements, each composition functions as a fragment of an imagined system – part map, part diagram and part object. Familiar forms such as spirals, loops, grids and linear pathways are repeated, rearranged and translated into relief, creating visual languages that feel both recognizable and unresolved.
The process of creating each piece involves moving between sketching, building and reconfiguring forms, allowing each one to evolve through a process of revision. Rather than depicting a specific place, these sculptures consider how we mentally organize and navigate space. Each piece is a ceramic composition that is simultaneously structural and playful, balancing order with improvisation while emphasizing the physical trace of the hand and the quiet rhythm of repeated forms.
Some works emphasize open, continuous lines, while others incorporate solid geometric fragments that suggest architecture or remnants of constructed environments. Together, they occupy a space between abstraction and representation, inviting viewers to make their own connections.
About Keenan O’Toole
Keenan O’Toole is a Toronto-based artist working primarily in ceramics and sculpture. She earned her MFA from Kent State University in 2025, following a Bachelor in Craft and Design from Sheridan College (2019) and further studies at Alberta University of the Arts (2020). Her work has been exhibited in cities including Toronto, Cincinnati, New York and Cleveland.
O’Toole’s practice explores form, colour and scale through traditional ceramic building methods. She engages in a cyclical process of translating structural references into both two- and three-dimensional
compositions, utilizing abstraction to explore how physical frameworks influence perception, memory and movement. Geometric shapes and modular systems echo the underlying infrastructures of pipes, grids and conduits, calling attention to how we subconsciously navigate space. Lines function in her work as directional signals, guiding flow through material and form. Through iterative repetition, she builds a visual language that references universal spatial markers – horizontal and vertical divisions, containment and extension. Her sculptures and drawings operate like fragmented maps or speculative models, inviting viewers to reflect on the systems that structure both built environments and internal experiences.
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