Edith Studio

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Toronto, ON
Edith Studio

Edith Kernerman. she/her. Artist. Sculpture. Painting. Drawing Photography. Digital Work.

05/27/2026

So what's it all about? Braeside Street in D.D.O./Montréal.

This is about reclaiming and reframing an event that happened in childhood to me. An event that was quite traumatic though at the time I don't know that I remember it being traumatic but I know now as an adult it was quite traumatic.

When I look at pictures of those houses, my heart starts to race and I realise that it probably was very traumatic. I was under the age of 5, so maybe 3, maybe 4, or five, not sure.

I sat on a bench beside a man who could have been just a teenage boy or it could have been a man in his 20s or 40s. I have no idea but it was an older bigger man.

This piece is about me deciding that I can now decide as the adult how I want to remember this. I can't change what happened and I can't change that I was once a victim but I'm no longer that victim. I am a powerful woman with agency and I have decided it's my decision whether I want to look back or not. I'm victorious.

Because this no longer exists. The bench is no longer there. The trees, who were the only witnesses to what happened that day, don't exist there any more either. But in this drawing/ painting, the trees and the bench will very much be there. Because I choose to include them.

I have declared that I have reconstructed this so I determine how this fits into my future. This, along with many other pieces in my Fragmented Nemory, Fractured Past series, is part of that series called Tyrants of Toronto/ Monsters of Montreal. It's all about the reframing and all about this little girl finally realising as an adult that she's got agency and she is powerful.

Still a long way to go on this drawing soon-to-be painting...

03/29/2026

Just a Bench
Fragmented Memory/ Fractured Past
A bunch of different works on the same subject
2D mixed media on paper, aluminum, or glass
3D pieces broken and shattered glass with wood
DM for sizing and pricing.

Drop a comment with your favourite

03/13/2026

Footprints in the Snow
(a.k.a. ready or not the slippers are always hiding)
Digital. printed on aluminum, finished by hand with oil and encaustic pigment sticks.
These are part of the Tyrants of Toronto/ Monsters of Montreal series

12”x12”
from $175, incl tax, for limited edition aluminum prints (edition of 25) shipping included to continental Canada and U.S.
$325 +shipping for hand finished aluminum mixed media (edition of 10)
Dm for other sizing and pricing. 12x12”—>60x60”

01/30/2026

Footprints in the snow a.k.a. Places to hide.” 1st slide: 2026. 2nd slide 2025. Digital drawing printed on aluminum.

Childhood is supposed to be fun, carefree, and filled with laughter, playfulness, mischief. We expect kids to be boisterous, daring, innocent.

Screw the adults who shatter that time in our lives.

My work is not always pretty. It’s not always happy. Sometimes it’s hard to look at because it’s too painful to remember; difficult to conceive of such horrible acts; Awkward to face those (mostly) men in our lives/community who commit these acts against children and rob them of their Joy.

We don’t want to believe it. We don’t want to see it. We don’t want to know about it. Because then we’d be… responsible?

Often times my work focuses on a child hero who reclaims her memories and chooses how to weave those memories into a new empowering narrative where victims become victors. This is my hope for all child survivors… that one day we fight the demons in our memories and remember the happy childhood we once had. Joy will live again.

Prints available from 18 x 18“ to 60 x 60“. Limited Edition of 18.
20% of profits are donated to causes that support victims of child sexual abuse. Dm me for pricing or to order.

11/02/2025

Took some time off beginning of Oct to have some fun in the hospital...

Yeah, I'm totally fine. All good. Nothing too terrible. Just pi**ed I missed some beautiful weather and prime studio time...

Here are 3 quick little studies
I whipped up when I got out.

"Not the window seat" oil painted over top of a giclée print on stretched canvas . 14" x 12"

"Still not the window seat" oil painted over top of a giclée print on stretched canvas. 12" x 12"

"Go ahead... everyone else has" oil on stretched canvas. 12" x 12"

10/04/2025

I asked myself, what would I do if I was no longer afraid.... so I jumped in and had some fun. We have to be prepared to lose a piece in order to save it.

Swipe to see a technique I've used on and off over the years... blocking in the darks. Unlike where many artists will block in the lights and sometimes the darks where they're following the form, here, I ignore the form --as I will bring it out later-- and let the darks merge from form to form and thru the interspace.

This piece is nowhere near finished, and it's super weird to share this at this early stage, however, I find the sharing of it an interesting exercise.🤔🤔🤔

09/20/2025

This quick study and underpainting in oil on gessoed masonite board, 48”x48”, is about a very terrifying event that happened when our son was eight months old. We thought we were losing him due to an allergic reaction.

What made it so much harder was that a few weeks before I had broken my right leg and tore most of the ligaments in my left ankle. I couldn’t walk without crutches, and even then that was extremely difficult. And yet while my husband ran to get the car, I had to get our son down the stairs and to the front door. During that interminably long 5 minutes, he lost consciousness. I don’t think I have ever felt so helpless in my life.

I administered the EpiPen and 15 minutes later in the car, he came to and was okay by the time we got to the ER. That was 13 years ago. It feels like yesterday.

Through 5 or 6 different pieces I’ve been exploring this terrifying event, and in the broader sense, the helplessness, fragility and vulnerability of childhood, while at the same time celebrating children’s remarkable strength and resilience.

Above, I show the first rough-in for the piece and then some detail shots of his face, arm, my cast. There are a lot of obvious technical errors that I don’t want to rework until the oil has dried and some I’m not that concerned about, but I needed to step back and see where I wanna go with the piece as a whole. I might leave it where it is as just a study or I might decide to develop it further into a full painting.

There’s also a studio shot of another piece to the right that I’m working on of the same event where my husband runs to the car while holding our unconscious baby, while I struggle to get up on my crutches and get out the door.

Please like and share this post with a parent, curator, or gallerist with whom you feel this work might resonate. I would also love to hear about an event where you felt helpless as a parent.

09/02/2025

Sketchbook study from 6 months ago. This is for an installation I’d like to do soon, i.e. when a gallery or gallerist or creator would like to help me co-create this show.😆

I am always working on a number of things at once, though usually not on more than two bodies of work but sometimes three. however, within one body of work, I may be working in different media.

So, I might be doing a painting and a bunch of drawings and even some sculptures, if you followed any of my fragmented memory/fractured past series there were drawings and glass sculptures and paintings all within the same style and the same theme.

This quick sketch here is a rough-out for an idea for a glass and bronze sculpture that would be approximately 4 feet deep, 2 feet wide, and 3 feet high. And that piece would be the maquette for a life-sized piece with the “forest of trees” towering at 13 feet.

03/08/2025

“I Do”. Oil and encaustic on stretched canvas. 5 ft x 5 ft. 1997. I created this piece to address the horrific and very real possible violence a woman/girl might face from her domestic partner. I included Canada alongside countries where the public stoning or killing or abuse of one’s “wife” (owned chattel) is accepted, because of the growing rates of femicide here in Canada.

But even in the face of danger and systemic inequality we women rise above and have the power to fight.

So, my tribute to women everywhere: to our strength, to our resilience, our determination, our ability to survive, no matter what this world has brought us or will bring us. We are wonderful, beautiful, creative, and brilliant. And yes, we are powerful. Our ability to love and forgive knows no bounds. We are protectors, fighters, nurturers, mothers, sisters, friends, aunties, and cousins.

And to everyone else, no matter who you are, never forget that We Made You.

Happy Women’s Day, my sisters. I respect, admire, and love you all. You, phenomenal females, both born and become, those with us and those that only live in our hearts, I am so grateful for all the gifts you have shared with me and our world. Thank you💝

“We not like them” version 2. Digital. (C) Edith Kernerman 2024Prints for sale. Country is not.Info@edithstudio.com to ...

02/22/2025

“We not like them” version 2. Digital.
(C) Edith Kernerman 2024
Prints for sale. Country is not.

[email protected] to order right now.

$200 for 20x20” framed canvas print or brushed aluminum print. Ready to hang. Limited Edition

$50 for 20” x20” unframed satin poster print

Free shipping in Canada 🇨🇦

Address

Toronto, ON

Website

https://www.edithstudio.com/

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