1998 Roo Borson, Towards the 401, Brick, no. 59 Spring, pp 40- 44.
1995 Andy Patton, Cathy Orfold’s Cat, Sheila Ayearst: The 401 Towards London, London Regional Art & Historical Museum, London, Ontario.
1995 Mark Cheetham, The Sublime is Now, Sheila Ayearst: The 401 Towards London, London Regional Art & Historical Museum, London, Ontario.
1995 The Sublime is Now, C Magazine, Winter, Toronto, Ontario.
1994 John Armstrong & Sarah Quinton, Textiles, that is to say, The Museum for Textile, Toronto, Ontario.
1994 Greg Beatty, Visual Experience, Parachute, No. 74.
1994 Kate Taylor, Trying to Separate Art From Craft; Textiles that is to say, The Globe and Mail April 8, 1994.
1993 Ingrid Jenker, Visual Experience, Dunlop Art Gallery, Regina, Saskatchewan.
1993 Kate Taylor, Landscapes From the Road Revisited, The Globe and Mail, February 23, 1993.
1991 Lorenzo Buj, Memory Works: Postmodern Impulses in Canadian Art, Parachute, Spring 1991, no. 62.
1991 Mark Cheetham, Remembering Postmodernism: Trends in Recent Canadian Art, Oxford University Press, Toronto, Ontario.
1990 Jeanne Randolph, Mincemeat – A Recipe for Disaster, catalogue essay from Verge, Macdonald Stewart Art Centre, Guelph, Ontario. Reprinted in Jeanne Randolph, Psychoanalysis & Synchronized Swimming, Toronto, Ontario, YYZ Publishing, 1991.
1990 Gordon Lebredt, Dire Traits, Art Gallery of Peterborough, Peterborough, Ontario.
1989 Monique Brunet-Weinmann, La vraie guerre du faux n’aura pas lieu, Vie des Arts, Spring, 1989.
1988 Linda Genereux, Still Life, interview published by Mercer Union, Toronto, Ontario.
1988 Liz Wylie, Failing World Inspires…, Now , January,14.
1988 Lisa Rochon, On Show, The Globe and Mail, January 14.
1987 Monique Brunet-Weinmann, Medium – Photography, catalogue essay, Goethe Institute, Montreal, Qc.
1986 Gary Michael Dault, Architectural Digest, C Magazine, Toronto, Ontario.
1986 The Interpretation of Architecture, catalogue essay, YYZ, Toronto, Ontario.
1986 Carole Corbiel, On Show, The Globe and Mail, April10.
1985 Elizabeth McKenzie, Project: Colour Xerox, Artviews, Winter 1984/5.
1983 Katherine Knight, Representation as a Kind of Absence, Vanguard, February 1983.