不良研究所

By day, they are junior high art teachers, but beyond the classroom they are entertainers, knowledge-providers, auctioneers, social entrepreneurs, mentors, carnies, and the heart and soul of a vibrant community 鈥� all at once. 

In many ways, isn鈥檛 that the essence of being a teacher 鈥� embodying countless roles and inspiring others through each one?

On this night in their space on 8th Avenue S.W. in downtown 不良研究所, the room buzzes with creative energy; a blend of paint, chatter and possibility. It's a place where every canvas tells a story, and every visitor becomes a part of one. Jessica Th茅roux, BEd鈥�10, brandishes a silver vintage style 鈥淓lvis鈥� microphone like a 1940s boxing ring announcer while husband and founder Rich Th茅roux, BEd鈥�03, plays the showcasing role, holding up a piece of art by child artist 鈥淭hora.鈥� 

The piece 鈥� a simple, yet profound image of her tiny hand 鈥� holds particular meaning to both Jess and Rich, who often reflect on the importance of hands to the creative process.

鈥淚t鈥檚 a very special piece; as an artist your hands are so important,鈥� says Jess.

Rich adds: 鈥淗ow many of us are lifelong, die-hard, eat-sleep-breathe for the art? Doesn鈥檛 it happen sometimes that your hands are making things like a mystical force is just guiding them?鈥�  

This interplay between the physical and the metaphysical is a recurring theme in Rich鈥檚 reflections. Later in the evening, he elaborates: 鈥淵ou sit down in a space and your eyes take in the light.鈥� He urges everyone to carry a sketchbook wherever they go. 鈥淵our brain forms an image of that light. It passes through your body, your heart and down your arm and on to the paper and you steal that moment forever.鈥�

On the night of this interview, they are hosting Rumble House event No. 601 (not that anyone鈥檚 counting). What began 12 years ago as Gorilla House has since evolved into the Rumble House studio/gallery at 1136 8 Ave SW, we see today. Jessica has been married to Rich long enough that their effortless back-and-forth banter can only come from a relationship forged over more than a decade. 鈥淚f I have been here for 601 events, Jess has done about 598,鈥� says Rich. 

By the time this article is published, you will still have time to take in the final Rumble House events including the finale Dec. 18, Show 604, as their lease is coming to an end. But, for those who might see this as the end, fear not. For Rich and Jess, it鈥檚 only the beginning of a new era. 

Conceptualization

Rich鈥檚 original vision, conceived decades ago, was rooted in the idea of transforming underused commercial space into a dynamic, shared studio and gallery. The concept was simple, but ambitious: artists could work in shifts, creating art in full view of the public. Passersby could witness the creative process 鈥� watching a piece begin in the morning, evolve during lunch and come to life by the evening. This 鈥渆xhibition of the creation鈥� was central to Rich鈥檚 premise: to combine the act of making art with its display, while sharing the costs of studio space. 

That vision became a reality 12 years ago with Gorilla House, located in 不良研究所鈥檚 Beltline. It followed this ideal of a place where art wasn鈥檛 just shown but created in real time. To add a unique twist, the studio introduced what Rich jokingly called 鈥渁rt battles.鈥� Artists would spin a wheel at 7 p.m., be assigned three random themes and have two hours to create a piece. At 9 p.m., the works were auctioned off, with proceeds split between the artists and the studio. The name eventually evolved from Gorilla House to Rumble House to better reflect its welcoming, community-oriented spirit. 

"We changed the (competition) name to 鈥楻umbles鈥� because other companies used the word 鈥榖attles,鈥� and I think they鈥檙e a little more combative than what we had in mind. For us, it was always about creating together and celebrating that process," Rich explains.

What had started as a six-week proof of concept stretched into a year and a half at Gorilla House, and then into the 10 years and 600+ weekly events at Rumble House. Rich describes the first sessions at Gorilla House as a passion project born out of sheer determination and the willingness of a diverse community to come together. 

鈥淓verybody there was there because they wanted to be there. We had no budget; we couldn鈥檛 pay anybody for anything,鈥� he recalls. Despite these limitations, the space thrived, with artists, musicians and videographers contributing simply because they believed in the vision.

Composition

Rich took those moments and turned them into art in another form: 鈥淲e shot film for the first hundred of them ... Seven-minute documentaries of the evenings set to the music of local bands,鈥� he says, explaining how these captured the energy and creativity of each session. These still exist as a testament to the project's beginnings.

What began with a core group of eight artists, the self-dubbed "Prime Eight group," quickly expanded. 

鈥淜ids started showing up with their backpacks and we didn鈥檛 have the heart to turn them away,鈥� Rich recalls. Some in the original group resisted, insisting on exclusivity, but Rich and Jess stood firm: 鈥淭his was made to go in the face of the arts community鈥檚 closed doors,鈥� Rich says. 鈥淓veryone鈥檚 welcome.鈥�

The result was a melting pot of people from all walks of life: 鈥淭here were 12-year-olds, art instructors, grandmas and people from the homeless population,鈥� says Rich. 鈥淥ne night, the Justice Minister of Alberta was standing two feet away from a guy who ended up on Canada鈥檚 Most Wanted list a month later.鈥�

Jess reflects on how Rumble House became a haven for the overlooked and underserved. 

鈥淥ur gallery, in a very similar way to our classrooms, ended up the Island of Misfit Toys in the arts community and it's where all the lost souls end up,鈥� she says drawing parallels to their teaching approaches. 鈥淵ou know you never speak down to kids ... you invite people in, show them what you鈥檙e doing and welcome them if they want to come along.鈥�

Jess further sums up the ethos of Rumble House with its commitment to accessibility and inclusion: 鈥淚t鈥檚 important because the idea in art was it鈥檚 so hierarchical and so closed doors ... This was kind of made to go in the face of that.鈥�

Layering

For Rich and Jess, teaching and running Rumble House has always been interconnected. "If you can manage a junior high classroom, you can manage anything," Jess notes with a smile. The same skills they rely on as teachers 鈥� adaptability, patience and clear communication 鈥� have been crucial in navigating the unpredictable dynamics of Rumble House.

"We are teachers second; we're both professional artists first,鈥� says Rich, ever-reflective, emphasizing their dual roles. 鈥淛ess and I are both , and we each had the chance to give . Teaching is our day hustle 鈥� it gives us the financial security to do all these other things." 

Their strengths as teachers are often visible in their operations at Rumble House. Inside, Jess ensures the room flows smoothly; outside, Rich diffuses tensions 鈥� even with ruffians on the street.

"It鈥檚 the same strategies," Rich explains. "When you鈥檙e outnumbered 30 to one in a classroom or five to one on the street, you learn how to use your voice to send everyone home (safe)."

Their ability to adapt and communicate effectively has been critical to the success of both their teaching careers and their creative endeavours. 

"One of the reasons I still teach is because I鈥檓 constantly breaking things down to their base core and making concepts accessible,鈥� says Rich. 鈥淭hat skill translates directly into everything we do at Rumble House."

Contrast

Rumble House鈥檚 history has been nothing short of extraordinary, but it was never easy. Rich recalls the humble beginnings.

鈥淚f you had said we were going to go for 600 sessions 鈥� there was no chance,鈥� Rich says. 鈥淚 thought we might get six, maybe eight.鈥� Yet, what began as a two-month trial turned into a 12-year journey that would become a lifeline for countless people in 不良研究所鈥檚 arts community.

Rumble House wasn鈥檛 just a space to create art; it became a community hub where people found connection, support and purpose. Early on, Rich signed a $60,000 lease with just $500 in the bank, relying on an honour system to keep the gallery running. 

鈥淚 only planned to run it for two months,鈥� he recalls. 鈥淏ut, very quickly, it became something that people were relying on for support, for food and for a space.鈥�

For Jess, who describes herself as an 鈥渆xtreme introvert,鈥� the experience was transformative. Initially, she felt reluctant about entering the art world, but found herself transformed by the experience. 

鈥淚 went into teaching out of art school because I didn鈥檛 want to be in the art scene. I was like, I鈥檓 never going to ask someone if my work鈥檚 good enough,鈥� she says. 鈥淚 disagreed with submitting portfolios and that kind of thing.鈥� But meeting Rich and seeing his vision changed everything. 鈥淗e鈥檚 making this amazing thing and upending all these structures in the art community; I鈥檓 like, what? How did I meet someone who has the same values as I do 鈥� where everyone鈥檚 an artist?鈥�

As Rumble House grew, so did the challenges. From managing the financial strain to diffusing tensions on the streets outside, Rich and Jess often found themselves navigating unpredictable circumstances. 鈥淚t鈥檚 been both dangerous and emotionally taxing,鈥� Rich admits. 鈥淚f someone walked in with a bad mood, Jess and I had to redirect it. You can鈥檛 let negativity overwhelm the room, or it spills out into the night.鈥�

This commitment to creating a safe and uplifting environment was no small feat. Rich relied on what he calls 鈥減ositive critical mass,鈥� ensuring the energy of the room stayed constructive. 鈥淎t the beginning of the evening, if it was two good moods against one bad one, we could manage that,鈥� he says. 鈥淏y the time we had nine people in a good mood, we could relax a bit.鈥� This philosophy wasn鈥檛 just practical 鈥� it became essential to sustaining the heart of Rumble House.

Perspective

Running Rumble House has also meant facing loss. Over the years, they said goodbye to around 50 members of their community. 鈥淲e鈥檝e lost about a third of our people to age, which is beautiful when they go to the right place. But we鈥檝e also lost people to cancer, illness, addiction and homelessness,鈥� Rich says. Rather than becoming desensitized, he has found a deeper appreciation for the moments they do have. 鈥淚t鈥檚 not that I鈥檝e become numb to it; I鈥檝e become accustomed and appreciative of the moments we do have.鈥�

For Jess and Rich, Rumble House wasn鈥檛 just about art; it was about building a community where everyone had value. Jess likens it to urban planning. 鈥淚t鈥檚 not just a gallery; you have to make the space fit the culture, we got to know our neighbours and built trust,鈥� she says. 鈥淚t鈥檚 psychology, too ... you鈥檙e constantly figuring out how to make people feel safe, welcome and part of something bigger.鈥�

Reflecting on their journey, Rich offers a simple lesson: 鈥淭reat everyone like you have a streetfront window. If everyone held themselves to that accountability, I think people would treat each other more kindly.鈥� It鈥檚 a sentiment that perfectly captures the spirit of Rumble House 鈥� a place where art, kindness and community came together in ways that will resonate far beyond its physical space.

At its core, Rumble House was always about service, rather than profit. 

鈥淧eople always ask, why we didn鈥檛 charge at the door or turn it into a business. But we鈥檝e treated it as a service, and that鈥檚 why it has such a good feeling to it,鈥� Rich explains. The honour system for auction proceeds 鈥� where half the money went to the artist and half to rent 鈥� epitomized this ethos. 鈥淲e wanted to keep it free and, somehow, we made it work.鈥�

A New Canvas

As Rumble House prepares to close its doors, the Th茅rouxs are already setting the stage for their next chapter. Their relentless drive to create, connect and inspire leaves no time for rest. 

鈥淚 thought I鈥檇 have a week off,鈥� Rich laughs. 鈥淲e don鈥檛 get a week off.鈥� 

After hosting their 604th and final Rumble, followed by a free Christmas dinner 鈥� continuing their tradition of feeding the community twice a year 鈥� the couple will clean up the space and prepare it for the next tenant. Then, the following Wednesday, they鈥檒l launch their new project: The Isle of Roux.

The Isle of Roux is a natural evolution of the Rumble House philosophy, blending creativity, community and gratitude in a way that is unmistakably Jess and Rich. This time, however, the connection will be global. Each two-hour online broadcast will highlight a deserving person, place or initiative, with Rich and Jess creating an original piece of art dedicated to them. Interspersed with the artmaking will be puppets, whimsical video interludes, art lessons and reflections on the world of creativity.

鈥淚t鈥檚 a vaudevillian show,鈥� Rich says. 鈥淭here鈥檚 one interlude where my family and I are flying through space, another features 鈥楧ead Kevin,鈥� a mannequin who doesn鈥檛 speak.鈥� The blend of humour, creativity and heartfelt storytelling promises to make The Isle of Roux as unique and compelling as the Rumble House events that came before it.

The heart of each episode lies in its focus on celebrating unsung heroes. At the end of every broadcast, 鈥淒elivery Debbie鈥� 鈥� Jess鈥檚 mom dressed in a delivery uniform 鈥� will personally deliver the finished artwork to the honouree. The piece will come with two QR codes: one directing them to the episode in which they were featured, and the other offering a way to connect with Rich and Jess if they鈥檇 like. 

鈥淚t鈥檚 just a gratitude project for free Wednesday nights,鈥� Rich explains. 鈥淲e want to keep the flow of people checking in with us, and, if nobody watches, that鈥檚 fine. It鈥檚 about giving back.鈥�

The plan is for the inaugural episode to honour a library in Santa Monica that runs a free Lego club for kids who can鈥檛 afford it. Rich describes how they stumbled upon the initiative and felt compelled to recognize it. 鈥淲e want to shine a light on people doing good things that might not get noticed otherwise,鈥� he says.

The inspiration for The Isle of Roux comes from the same place that fueled Rumble House 鈥� a desire to build community and uplift others. 

鈥淚 had to make 2,700 paintings to keep the gallery open, and we haven鈥檛 made a penny, but we鈥檝e gained a kind of wealth that鈥檚 not connected to money,鈥� Rich says while reflecting on the last 12 years. 鈥淚t鈥檚 the kind of wealth where your wishes come true because everyone is rooting for you and that only happens when you put your whole life, your whole heart, into it.鈥�

For Jess, this new project feels like an extension of what they鈥檝e always stood for. 鈥淩ich and I have always believed that everyone is an artist. This is just another way of showing that,鈥� she says. 鈥淲e鈥檝e seen first-hand how much of an impact small acts of kindness can have. The Isle of Roux is about extending that impact to people all over the world.鈥�