“Kami” is Japanese for both “paper” and “god”, while “phony” refers to sound. At “Kamiphony”, a showcase for Toronto paper artist and illustrator Cybèle Young, you pass through a double arch inspired by Mexican festivals to arrive at the centre of the exhibition and you’ll find Machine Pantheon, where a series of intricate kinetic paper machines are installed on individual tables, their choreography projected on screens to provide a dual interpretation of each work. The movements have no real purpose, and that’s the point: “uselessness” can also be beautiful. “From Aristotle to Baroque automata, and from Bruno Munari to Jean Tinguely’s anarchic sculptures, philosophers and artists have long returned to this idea,” the artistic statement posits.

The notion of “uselessness” is also deeply personal to Young, who crafted this body of work while experiencing both long-COVID and menopause. The show includes a marvellous wall-mounted piece — almost a complement to Peteran’s 3D paintings — that depicts miniature domestic scenes and objects with a miraculous level of detail. By using shadow play and projecting tiny films onto tiny gemlike surfaces — with brooms, scrunched facial tissues, flora and fauna in seeming free fall — the artwork invites endless discovery.