Behind-the-scenes: a matter of time

Curated by TD Curatorial Fellow Nawang Tsomo Kinkar and brought to life through a deeply collaborative design process, the exhibition challenges Eurocentric, linear notions of time and embraces a cyclical, non-linear understanding inspired by diverse cultures and knowledge systems.

We chatted with the curator, graphic designer Bramwell Enan, and exhibitions & collections assistant Hamideh Behgar to give you a closer look at how the show is designed. Read on to explore how curatorial vision, spatial layout, and graphic design work together to make the exhibition – and time – feel textured, lived, and spatial.

The idea of spiral time is a concept drawn from the writings of Leda Maria Martins and Leanne Betasamosake Simpson, as well as Buddhist knowledge systems. The exhibition includes artworks from the WAG permanent collection that evoke cyclical, overlapping, and regenerative understandings of time – works by Tim Whiten, Dana Claxton, Colleen Cutschall, and Maureen Gruben are highlighted in the show.

Colleen Cutschall (Canadian (born in U.S.A.), b. 1948). The Great Race, from the series Voice in the Blood, 1989. acrylic on canvas. Collection of the Winnipeg Art Gallery; Acquired with funds from The Winnipeg Art Gallery Foundation Inc., G-92-92. Photo: Ernest Mayer

“Non-linear constructions of time and space have always interested me – along with themes of regeneration, renewal, and rebirth. Many non-Western cultures think about time as cyclical, and I wanted to draw upon that recurring knowledge through the spiral motif. The works in the show embody spiral time, both politically and spiritually, even if the artworks are not explicitly referring to spiral time,” says Nawang.

The curatorial narrative became the north star for the exhibition’s physical and graphic design. The goal: translate abstract concepts of time into a spatial and visual experience.

a matter of time occupies a large, angular gallery with multiple entrances – a challenge that became an opportunity. Nawang, Bramwell, and Hamideh approached the gallery layout as an extension of the exhibition’s concept.

“We embraced the idea that visitors could enter from any point. Instead of one ‘correct’ path, we used repeated title treatments, soft curved fonts, and circular motifs so that no matter where someone started, it would still feel intentional.” — Nawang

Curved walls and soft-edged labels were introduced to contrast the rigidity of the architecture. The title font itself mimics spirals with rounded lowercase letters – no sharp edges, no beginnings or ends. Gold lettering stands out from the midnight-blue walls, a colour chosen by Nawang early in the process for its art historical resonance and contemplative tone. “It’s the darkest blue on the colour wheel—the colour of the night sky. It sets a quiet, immersive, but also powerful mood.”

Movement through the exhibition is not just visual, but physical. Visitors are encouraged to look up, peek around corners, and feel the gentle shifts in perspective. Hamideh, who assisted with the installation process, emphasized the balance between structure and openness.

“There’s intentionality in how people move. We removed plinths that felt too restrictive. We blocked off corners to guide flow, but left room for natural discovery. For example, the clocks on the wall part up Quantitative Variables (1969) by the artist John MacGregor, are hung in an S-curve, pulling the eye gently from big to small—mimicking the spiral,” says Hamideh.

Even the heights the artworks are hung vary widely – some intentionally lower for children and wheelchair users, others higher to provoke visual contrast and movement. These details are subtle, but potent. They shape how different bodies move through, experience, and reflect on time.

From the beginning, a matter of time was shaped by open dialogue and deep collaboration. Nawang worked with Bramwell and Hamideh to ensure the design wasn’t only about aesthetic, but conceptually grounded.

“The curatorial vision was clear from the beginning,” said Hamideh. “It made it easy for everyone else to enter and experiment together. We weren’t just executing a plan—we were part of a living conversation about time, space, and accessibility.”

That spirit of flexibility extended into installation, where plans evolved to better serve the artworks and the narrative. What began as a 2D layout transformed in real space – some works were removed or repositioned to allow for better pacing and stronger impact.

When curatorial direction and spatial design are aligned, the result is not just an exhibition, but an experience for the viewer. We invite you to check it out and slow down, shift perspective, and reconsider the structures we often take for granted.

Thank you to TD Bank Group through the TD Ready Commitment for making Nawang’s curatorial fellowship possible, and to Margaret Hucal for her support of the exhibition.

a matter of time offers a compelling reminder that time isn’t always linear. Nor is the way we move through art, or through life. Sometimes, the deepest impact lies in the space in between. Learn More