THE DRAWING THAT NEVER ENDS, Andrew McPhail's new show has to do with the Toronto artist's penchant "for repeating the same images over the years'" says dealer Robert Birch, whose gallery, now in the Distillery District, has represented McPhail over the years. This is supportive praise, not criticism. Birchpoints to McPhail's PLUMBING INSTALLATION piece in the gallery, a collection of wonderfully sweet tempered colouring book-like representations of the building's exposed pipe system. Drawn on various square chunks of Mylar, the pipes connect this way and that almost like living things burrowing happily away. You feel that McPhail would have happily continued the drawings beyond their Mylar Squares letting them creep up and down the walls, the way real pipes do.

In WORK MANDALA, the use of the word "mandala"- a graphic mystical symbol in Hinduism and Buddhism, generally in a circular form- is on par with McPhail's references to artist such as Pieter Breughel and Sandro Botticelli in his titles at the Robert Birch Gallery. But there's a spoofy quality to these historical references. A York University graduate- "I'm 43 but I look younger"- McPhail finds lots of his artistic get-up in cheapo colouring books found at the corner store.

1 Multiple Mice: "It's about repetition, the concept of repetition as much as anything else, about how as a child repeating things was used as a time filler. I'm still using that idea. It also comes from colouring when I was a child. I'm not into comic books but even today colouring books are still a source material. I'll even use my older material (as a reference). I'm still drawing light bulbs i drew long ago."

2 Childishness: "I don't think I'm trying to recapture my childhood. In the past I've dealt with serious issues in my work and it has been much darker. But I live in a happy place now. And I'm trying to allude to the kind of joy found in childhood although we know that childhood is not always happy."

3 Mylar backing: "I started working in Mylar 12 or 13 years ago, because it had a skin- like quality and I was then doing drawings which had an anatomical quality. I've since become really comfortable with it. It's also good for tracing, a good thing since alot of my work is repetitive."

4 Empty spaces: "There is lots of void in my work and that is as important as what is there. In the mice drawing, when you look closely at the empty space between the mice, you'll find it is a very busy, dynamic space.

5 Flat Imagery: "It has to do with setting them up as iconic images. There is almost a religious feeling here. The images may look flat but they're also quite rich-looking."