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2026 marks two pivotal moments for Glory Hole Gallery.
Glory Hole Gallery moved to the historic The ArQuives, situated in the Reading Room, and got a makeover!
Working once again with artist Max Lupo, the new Glory Hole Gallery concept is now a single box gallery, nomadic, and with intentions of having multiple singular boxes in spaces across the Globe.
Glory Holes world-wide is the future.
Check out current exhibition updates below!
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Glory Hole Gallery + The ArQuives Partnership
September 2026-September 2027
Open times and dates:
Fridays 4pm-8pm
Saturdays 11am-3pm
Sundays 11am-3pm
Fridays 4pm-8pm
Saturdays 11am-3pm
Sundays 11am-3pm
Or by appointment – email curatorial@arquives.ca
Glory Hole Gallery is honoured to be welcomed into The ArQuives for a special series of exhibitions over the coming year. The gallery has been given a home on the wall of the Reading Room, where it will continue its mission of platforming and celebrating the creative practices and lived experiences of 2SLGBTQ+ communities through four exhibitions presented between September 2026 and September 2027.
The setting of The ArQuives is a fitting home for this micro-gallery, which was founded to promote Queer and Trans cultural formations and to highlight sites of Queer refusal, resistance, cultural preservation, and space-making. These commitments closely align with the work and mission of The ArQuives, creating a meaningful context for this partnership.
While you're making a stop to the Glory Hole, check out and support other exhibitions and programming at
The ArQuives: https://arquives.ca/events-calendar/
Donate to The ArQuives: https://arquives.ca/donate/
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Brittney Appleby
Shadows In Lace
The ArQuives, 34 Isabella St, Toronto
Reading Room
September 22nd-December 21st, 2026
About Brittney Appleby
Brittney Appleby (she/they) is a queer interdisciplinary artist and filmmaker with a primary focus in experimental analog film and photo techniques. She currently resides on the unceded territories of the Squamish, Tsleil-Waututh and Musqueam First Nations, otherwise known as Vancouver, Canada. Brittney's work spans across multiple analog film and photo mediums including 16mm, super 8 motion picture film and cyanotype, 35mm, 120, large format, polaroid, and wet plate collodion photography. She is inspired by the materiality of analog practices and incorporates her background in painting, drawing and printmaking into her films and photographs. Common themes Brittney explores in their work are the body, chronic illness, trauma and memory. Brittney sees celluloid film as an alternative to the canvas and believes that experimental analog processes work as a metaphor for the disabled body.
Brittney holds a Diploma in Visual Arts from Langara College and graduated with their BFA majoring in Visual Arts from Emily Carr University of Art + Design in Spring 2021. She has mentored under Lindsay McIntyre, Geoffrey Wallang, and most recently the Cineworks darkroom with Jack Beatty learning traditional cine and photo film processes. Their film works have been featured in multiple festivals across Canada, and internationally in Italy, France, Portugal, Hungary, Slovenia, Cyprus, Australia and across the US.
Instagram: @brittneyappleby
Artist Statement: Shadows in Lace (2026)
Cyanotype on watercolor paper (original) 18x24” & 22x30” prints
Shadows in Lace looks at the history of lingerie through a queer feminist lens and reflects on the intimate relationship we’ve had with undergarments throughout time.
When we look at the history of fashion, clothing has been used not only as a tool of women’s oppression but has also played a role in our liberation and freedom. Although there has been progress, women’s fashion is still heavily politicized through harassment, control, judgement and exploitation. These harmful ideologies contribute to the continued epidemic of gender-based violence as society assumes moral failing based on what you did (or didn’t) wear. In order to change this, we must start by examining and challenging our own internalized prejudices on how we think women should or shouldn’t exist in this world.
Shadows in Lace seeks to celebrate femininity, sexual expression and bodily autonomy in an inherently misogynistic and patriarchal world. Each print is one of a kind cyanotype and was hand made using a camera-less image making technique known as photogram. The series is on-going and currently features pieces from the 1950s to present day. The series will continue to expand to feature antique pieces from the late 19th century to the mid 1940's to take a deeper look at how lingerie and undergarments have changed over the last 150 years.
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Finn Simard
The ArQuives, as a part of Nuit Rose 2026, "Rewilding"
https://www.throbbingrose.ca/projects/nuitrose2026
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