Developed for Union Station’s year-round public programming, this free, drop-in workshop was designed as a relaxed “sip and paint” style experience for the station’s evening patio crowd. Instead of focusing on technical painting skills, Paddy Leung introduced squeegee painting, an intuitive, process-based approach that required no prior art experience and encouraged play, experimentation, and curiosity.

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The activity quickly became a lively, family-friendly experience, inviting participants of all ages to explore colour and movement together. To spark interest and draw people into the space, Leung performed a live squeegee painting demonstration on stage, transforming the act of painting into a public spectacle. The demonstration immediately captured attention, drawing crowds to the tables where participants eagerly joined in, discovering the joy and accessibility of painting through unconventional tools and hands-on experimentation.

In celebration of Lunar New Year, Toronto International Film Festival's senior programming series, Silver Screening, screened Ang Lee's Eat Drink Man Woman. To amplify and enrich the film programme, Paddy Leung was invited to facilitate an in-person workshop exploring cultural connections to food and memory.

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Food For Thought was designed as an accessible art-making experience where participants used provided table mat templates, drawing, and collage materials to create visual representations of their favourite dishes. This project was adapted from the original workshop developed for Visual Arts Mississauga, transforming three-dimensional sculptures into two-dimensional collage art to better suit the group. At the end of the workshop, participants displayed their artwork at the theater entrance, inviting the public to reflect on the intersections of food, memory, and identity.

A hearty arrangement of meatballs nestled in spaghetti, garnished with herbs and sauce, embodying the warmth of home-cooked meals, family traditions, and the cultural memories carried through recipes passed down through generations


Colorful layers depicting a steaming bowl of instant ramen with toppings, capturing the humble comfort food that transcends cultures and generations, reminding us that nourishment and togetherness can be found in life's simplest meals.


 A vibrant depiction of glazed Peking duck arranged with traditional accompaniments, representing a celebratory dish that evokes memories of special gatherings, cultural heritage, and the comfort of sharing an elaborate meal with loved ones.


An ornate depiction of a traditional moon cake with its decorative surface patterns and golden-brown tones, representing a cherished festive treat enjoyed during Lunar New Year celebrations, evoking memories of family gatherings, cultural tradition, and the sweetness of sharing special moments with loved ones.

An intimate portrayal of a shared hot pot meal, layered with vibrant textures and ingredients, symbolizing togetherness, care, and communal nourishment, evoking memories of gathering around the table, shared labour, and the warmth of connection central to family and community life.


A tender depiction of a chilled crab platter inspired by the summer meals Leung’s mother prepared, evoking memories of long, warm days spent sharing food with friends and family, and reflecting care, generosity, and the joy of gathering around a table together.

Over the course of a year, Paddy Leung developed and facilitated three innovative programs serving 2SLGBTQIA+ youth ages 5-18 at The 519. This work deepened their commitment to creating accessible, affirming spaces for queer and trans young people and their families.

Above is a mantel showcasing artworks by past participants, creating a growing display of KAAS and YAAS works. Featuring student artworks in the space supports reflection, visibility, and confidence, reinforcing a sense of belonging and pride in their creative contributions.

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Leung relaunched Kids Art & Action Space (KAAS) and Youth Art & Action Space (YAAS), free drop-in programs offering mixed media arts and movement-based activities for youth ages 6-9 and 10-14, respectively. Both programs centered Queer, Trans, Black, Indigenous People of Colour (QTIBIPOC) voices and created safer spaces for self-expression through storytelling, dance, music, and visual arts.


Final collage artworks made by YWG particpants led by Stylo Starr.

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They also developed the Youth Working Group, an Immigration Canada-funded art project addressing anti-bullying, anti-hate, and anti-racism. This program provided mentorship, workshops with four 2SLGBTQ+ artists, and culminated in an art showcase at Buddies in Bad Times Theater —all while ensuring youth received meals, transit tokens, and honoraria for their contributions.


Leung participated in developing the first Youth Pride hosted by The 519, inviting previous artists and facilitators to vendor tables, providing additional resources, and coordinating live performances. The Youth Working Group designed a banner that was displayed at the event.



Additionally, Leung co-facilitated Teen Clay Workshop in partnership with the Gardiner Museum, offering accessible clay-making workshops for 2SLGBTQ+ BIPOC youth and allies ages 14-18.

This experience strengthened Leung's skills in program design, community collaboration, and youth-centered advocacy within social services settings.

As part of North York Arts' response to the Truth and Reconciliation Calls to Action, Paddy Leung co-facilitated accessible mixed-media workshops for youth ages 14-18 at Downsview Park. The workshops invited young people to explore their relationship to the land and deepen their understanding of solidarity with Indigenous peoples and cultures.


Participants first worked with spoken word poet Patrick Walters to create poems centered on nature and their commitment to the land. They then collaborated with visual artist Paddy Leung to embed these poems into wooden crates through painting and mixed media techniques. Youth reflected on what it means to be close to nature, their shared responsibility to Indigenous communities, and their role in environmental stewardship.


Each participant received an individual crate to take home, while collectively contributing to a larger installation for the Community Interactive Art Exhibition, We CAN do it! When stacked together, these crates formed a multi-sided sculptural mural—like the interconnected roots of a forest, representing how individual actions and acknowledgments come together to create something larger than themselves.

For Leung, a settler living on Turtle Island, this project offered an opportunity to show up in solidarity with Indigenous peoples by creating space for youth to engage meaningfully with the land and their responsibilities to it. The workshop honored the principle that the land is the epicenter of Indigenous knowledge, inviting participants to shift from egocentric perspectives toward land-centered consciousness.