Jacqueline Bell is curator at Walter Phillips Gallery. Recent exhibitions include Cassils: Movement (2024, co-curated with Carol Stakenas); The Shape of an Echo: Selections from the Permanent Collection (2022); darkness is as deep as the darkness is by Rita McKeough (2020); A materialist history of contagion by Candice Lin (2019); Guidelines by Carmen Papalia with Heather Kai Smith (2019); If the river ran upwards (2018) with Silvina Babich, Alana Bartol, Diane Borsato, Carolina Caycedo, T’uy’t’tanat-Cease Wyss and Anne Riley, and Genevieve Robertson; THE CAVE (2018) by Young Joon Kwak with Marvin Astorga, Shawna Dempsey and Lorri Millan, Adrian Stimson, and Kim Ye; and the exhibition and performance, Everything I Say Is True (2017) by Kite. Prior to joining Walter Phillips Gallery, Bell contributed to a number of projects and exhibitions at LACE (Los Angeles Contemporary Exhibitions). As an independent writer, Bell has been published by C Magazine, FIELD: A Journal of Socially-Engaged Art Criticism, and X-TRA: Contemporary Art Quarterly, among others. She is a graduate of the MA Art and Curatorial Practices in the Public Sphere program at the University of Southern California.

Ivy Pan is a Toronto-born violinist turned arts administrator. In the words of Soundweavings 2025, she is “relentless in her support of participants, incredibly organized, and quick to troubleshoot any issues that arise. She was a major contributing factor to the success of this program.”

Ivy graduated from the University of Toronto with a Bachelor of Music, studying under Annalee Patipatanakoon. She began her professional career as an educator and musician before transitioning to arts administration, working with organizations including Sistema Toronto, York Region Arts Council, The Royal Conservatory of Music, Toronto Symphony Orchestra and Banff Centre for Arts and Creativity. Ivy has developed diverse programs with meaningful social impact, including the Artrepreneur Program, a business accelerator for creative professionals; TSOUND Connections, a COVID-19 response initiative connecting youth musicians with isolated individuals; and Tuned for Tomorrow, which addresses non-performance skills for emerging artists. Among her proudest projects is following a grant which allowed her to create Dear Dearest, a poetry collective connecting Asian-identifying youth using literary arts as a tool to address #StopAsianHate.

For Ivy, music and arts administration isn’t just a career - it’s a way of de-alienating the human experience and foster meaningful connections in a world that sometimes feels divided, with anyone willing to listen. 
 

Nicholas Dourado is all of the above and none of the latter. Adisciple of the school of creative mysteries and hard nocks and the
holder of innumerable leafs. Don't hold your expectations too tightly around this artisté.

Nicholas was generously supported by the Banff Centre Artists' Awards and the Alice and Betty Shultz Scholarships Endowment Fund for Dance and Music.

Born in Rouyn-Noranda, Quebec, and raised in Northern Ontario, Colleen Murphy won the 2016 and 2007 Governor General's Literary Award for English Language Drama for her plays Pig Girl and The December Man / L'homme de décembre respectively. Both plays were also awarded a Carol Bolt Award. Other plays include The Breathing Hole (shortlisted for the Susan Smith Blackburn Prize and the Carol Bolt Award), The Society For The Destitute Presents Titus Bouffonius, I Hope My Heart Burns First, Armstrong's War, The Goodnight Bird, The Piper, and Beating Heart Cadaver, which was shortlisted for a Governor General's Literary Award. She is also a librettist - Fantasma for composer lan Cusson, My Mouth On Your Heart for composer August Murphy-King, and Oksana G. for composer Aaron Gervais - and is an award-winning filmmaker. She has been Writer-in-Residence at seven universities and Playwright-in-Residence at two Canadian theatres as well as at Finborough Theatre in the UK. She is a member of the Order of Canada.