Starting today and running through until Monday July 3rd Toronto’s Harbourfront Centre, a leader in diverse programming that speaks to our times, is hosting Our Home on Native Land Festival. Indigenous artists will be performing all weekend long. Some of the featured artists include:
On the occasion of Canada Day, Our Home On Native Land aims to spark questions, conversations, and ultimately a rethinking of “what it means to be Canadian” by foregrounding, celebrating, and making space for the diverse voices and stories of belonging to this land that are often excluded from typical ideas and expressions of Canadianness.
By focusing on narratives of creative resistance, intersectional solidarity, social justice, and decolonization, Our Home On Native Land reveals the connective threads that exist between Indigenous and diverse, newcomer communities in their creative contributions to the artistic and cultural fabric of Canada, or Kanata.
This festival takes its title from a well-known act of resistance committed by Indigenous peoples across Canada, whereby they intentionally change the line “Our Home and Native Land” to “Our Home On Native Land” to re-ascribe Indigenous sovereignty over the lands now known as Canada.
As part of the exhibition a conversation with curator Pamela Edmonds and the artists David Ofori Zapparoli and Yannick Anton will be moderated by Kwende Kefentse (aka DJ Memetic) tomorrow evening.
WHEN: Tuesday, February 27 @ 7 pm WHERE: Carleton University Art Gallery (CUAG), St. Patrick’s Building, Carleton University, Ottawa
More on the Outside These Walls:
“This exhibition brings together photographic works by Toronto-based artists Yannick Anton and David Ofori Zapparoli whose respective imagery share a community-focused and collaborative approach to documenting urban life and its people. Zapparoli has represented the visual history of Canadian cities for over 30 years, the majority of his work is informed by a strong social realist approach. Until 1999, he had focused on the public housing development of Regent Park, putting a human face on the stigmatized and transitional community of which he had been a part of since his teens.Anton’s candid and energetic photographs draw stylistic inspiration from the youthful, street, fashion, music and queer-positive cultures that he captures. Together both artists’ compelling works present unique and unapologetic insights into diverse landscapes and lives, addressing the systemic barriers that they expose and refute, while re-imagining regimes of the image away from fixed inscriptions of race, gender, class and corporeality.” (more info…)
J’net AyAyQwaYakSheelth – Nuu-chah-nulth Textile Artist, Cedar Bark Weaver, and Indigenous Outreach and Learning Coordinator at the ROM
For the Winter 2017 semester with support from its Aboriginal Education Council, the School of Fashion at Ryerson University developed Aboriginal curricula for its mandatory first year course FSN 223: Fashion Concepts and Theory, instructed by Dr. Ben Barry, Associate Professor of Equity, Diversity & Inclusion. A lecture was researched and delivered by Ojibway MA Candidate Riley Kucheran, and a panel event featured Angela DeMontigny, Métis Fashion Designer; Sage Paul, Setsuné Indigenous Fashion Incubator; and J’net Ayayqwayaksheelth, Nuu-chah-nulth Textile Artist, Cedar Bark Weaver, and Indigenous Outreach and Learning Coordinator at the ROM. ‘Fashioning Reconciliation’ is a conversation about Truth & Reconciliation, Cultural Appropriation and Indigenizing the Fashion Industry.
Leanne Betasamosake Simpson will perform songs from her new album “f(l)ight: Songs & Stories for a Radical Indigenous Present.”
Tomorrow evening CIRCLE (Centre for Indigenous Research, Culture, Language and Education at Carleton University) will be hosting Leanne as part of their series of events bringing Indigenous culture provocateurs to the Carleton campus. f(l)ight: Songs & Stories for a Radical IndigenousPresent is Leanne’s newest album.
MORE ABOUT f(l)ight:
“f(l)ight is a new album of story-songs from acclaimed Michi Saagiig Nishnaabeg artist Leanne Betasamosake Simpson. Effortlessly interweaving Simpson’s complex poetics and multi-layered stories of the land, spirit, and body with lush acoustic and electronic arrangements, f(l)ight claims a unique space in contemporary Indigenous music and performance.
The album is a haunting, powerful hybrid of words, songs, and perspectives. From the gentle invocation of other forms of life offered in songs like “Road Salt” and “The Oldest Tree in the World”, to the dissonant sonics of “Caribou Ghosts and Untold Stories” and the pulsing, hypnotic rhythms of “Under Your Always Light”, Simpson’s words reverberate within and between the sounds that surround them.” Read more…
WHEN: Thursday, November 24 @ 7 – 8:30 pm WHERE: Azrieli Theatre Rm 302, Azrieli Building, Carleton University, 1125 Colonel By Dr., Ottawa (Paid Parking at Library Parking Lot)
This expansive thematic show that uses House music as both an allegory and an art form ends this weekend. It’s worth spending time moving back and forth through the rooms to hear, or rather feel, how the soundscape informs works that are deceptively benign but loaded with signifiers of oppression / liberation creating intersections where labour meets love.
Today, Saturday, October 29 Toronto talent Esie Mensah will be performing between 2 – 4 pm.
“Chicago-based artist Theaster Gates takes over the fifth floor of the AGO’s Contemporary Tower with an immersive exhibition exploring the potential of the house museum—historically important landmarks that have been transformed into legacy sites. Gates proposes new ways of honouring and remembering Black experience and explores the potential of these spaces through music, dance, video, sculpture and painting.”
Club SAW hosts Black History Month Doc & Talk in partnership with One World Film Festival.
WHAT: Screening of Invisible City WHERE: Club SAW at 67 Nicholas Street, Ottawa WHEN: Thursday, February 25 at 7 pm COST: Suggested donation is $5 for the general public & $4 for One World Arts members. **Seating is limited**
One World Arts and the One World Film Festival are marking Black History Month with a screening of the award-winning documentary INVISIBLE CITY and a post-film talk with Saide Sayah (Program Manager for the Affordable Housing Unit at the City of Ottawa) and Chelby Daigle (Community activist and long-term resident of social housing).
The evening will also feature a new Heritage Minute about Canadian civil rights icon Viola Desmond, a Nova Scotian woman who challenged racial segregation and is often referred to as “Canada’s Rosa Parks,” courtesy of Historica Canada.
INVISIBLE CITY follows the lives of two black teens from Toronto’s Regent Park neighbourhood, Kendell and Mikey, as they make the transition from adolescence to adulthood. Their mothers and mentors root for them to succeed as the teens grapple with issues of race, crime and notions of manhood and the social pressures of an environment that places them at risk.
Turning his camera on the often ignored inner city, Oscar-nominated director Hubert Davis sensitively depicts the disconnection of urban poverty and race from the mainstream. INVISIBLE CITY was the winner the Best Canadian Feature award at the 2009 Hot Docs Canadian International Documentary Festival.
Click here to join, like and share this event on Facebook!
Also, this week INTERGALACTIC NOISE:: A partnership between Black Future Month & the Art Gallery Mississauga
WHAT: Panel Discussion and Reception WHERE: Art Gallery of Mississauga WHEN: Friday, February 26 at 7 – 10 pm
“Intergalactic Noise invites a re-engagement with the concept of Black History Month, as artists, designers, and multi-media creatives explore the concept of Afrofuturism. In using the date of 3016, Black Future Month offers an entry point to imagine utopic Black realities beyond the assigned month. Rather than accepting a naïve concept of a future full of advanced technology, the featured artists instead contemplate the possibilities of an advanced humanity.
I’ve tried to write this post many times. Every time another man or woman is killed by the police and the news comes up on my feed. Another friend, usually a Black friend, sharing, yet again, a sickening story.
I am going to try and write about how it makes me feel as someone who isn’t black but has loved ones who are. I am going to breakdown what happens to my body – the taste of fear that starts to hit the back of my mouth, the hot tingling that runs from my feet up my spine. My mind goes to a place that I can’t explain, it’s primal, and my ability to offer myself some sort of logic ceases. Even inside my own head there here is no passage out. I stop thinking and my body takes over. I panic wondering how the hell I am going to protect my loved ones.
What if they have a moment where they are pushed too far and that tension breaks costing them their life? Will others be around to intervene on their behalf? As we have already seen that often doesn’t even matter.
That’s my body’s reaction. And so what is the reaction of the parents, wives, husbands, and children who find out, that at the hands of someone whose job is to serve and protect, their loved one’s life has been taken? Their bodies must sink into a spot they will never fully recover from. And if they are Black themselves, they have to continue to go out into a world that has proven it’s hostile. There is no way they can reconcile this. Not everything happens for a reason and has a silver lining if you just look hard enough. Things happen because there are systems in place that allow for racism to continue despite the fact that slavery, in North America, has legally ended. Things aren’t in the past because the mechanisms, social structures and economic drivers that positioned slavery as acceptable are still in place.
Andrew Loku. The most heartbreaking thing I read was a friend of Andrew’s who cried out that he survived war in Sudan to be killed by police in Canada.
It’s happening here folks. Close to home.
Do you have someone in your family who is Black? What about your favourite teacher? Or your high school sweetheart? A good friend, your dentist, your therapist, the great neighbours you grew up beside? If these people matter to you what will you do to protect them?
I brought my body to the Black Lives Matter Toronto Die-in for Eric Garner back in December. And who did I see there? Black people.
For all the talk of how Multicultural our society is and for all the families I see that are multi-racial I wondered where were all the people whose cousins are Black, whose friend or lover or business partner is Black? Where were all the people who don’t have to carry skin colour as a burden? Why aren’t they here to help share lighten that burden for the people they care for?
How does this craziness end? By non-Black bodies saying enough – by standing their embodied with a physical presence in the moment to say I am here committed to this cause. Let those being targeted know that you get it that there is a hatred for Black bodies and that even in saying BLACK BODIES it allows a way for us to distance ourselves. Yes, all lives matter but at this time Black Lives are the ones at risk. So what are you going to do?
Because I want you to help protect my loved ones. I want you to help be the buffer that creates a circle of safety around the people I care about who need to be protected.
I want you to show up to Black LIves Matter events because when everyone shows up, not just those who are targeted, that will be how we change this thing.
This just came through my feed:
“For all you crying about this damn lion while it’s open season on black people but remain silent… I see you.” ~ Dayna Danger
Don’t be that person.
#BlackLivesMatter Tonight in Ottawa
Friday, July 21 at 8:22 pm
Vigil for Sandra Bland
More info on the Facebook Event Page
Oh my! Where does one start?! First let me say this. There is nothing boring about Ottawa. So let’s just put that “it’s the city that rolls up the sidewalks at night” myth to rest. Just when I think I might get a breather from events the Writers Festival ends by seguing this city into another festival celebrating the arts – The National Arts Centre’s Ontario Scene. “Imagine 600 Ontario artists, from all disciplines, performing in the national spotlight on the stages of Ottawa/Gatineau: that’s Ontario Scene.”
The biggest limiting factor to Ontario Scene is that my body only allows for me to be in one place at one time. I may have to settle for 300 Artists, 30-ish events and maybe 1 less day.
I have already clocked two events with back to back nights at Carleton University Art Gallery for the Opening and Artist Walk Thru of the current exhibit “Human Nature.” This show “presents fourteen contemporary Ontario artists whose works look at the state of the natural world and our impact on it.”
Images by Leah Snyder for Mixed Bag Mag.
Graffiti Boxman Project. Photo Flips BSC. Kwende Kefentse.Credit James Park Photography.
“Century Song is a live performance hybrid showcasing the extraordinary Canadian soprano NEEMA BICKERSTETH. A radical revisioning of the recital form from one of Canada’s most exciting theatre companies, it is part classical song, part dance, part projection, and entirely theatrical.” Find outmore…
Digging Roots. Raven Kanatakta and Shoshona Kish. Photo Ratul Debnath.
DECLARATION is a great Ontario Scene initiative that will be running from April 29 to May 3.
“DECLARATION is a celebration of Indigenous peoples’ right to engage in the creation and evolution of arts and culture, as asserted in Article 11 of the 2007 United Nations Declaration on the Rights of Indigenous Peoples. Created by Toronto-based ARTICLE 11, DECLARATION is an immersive, live, sound and image installation and performance-creation lab. It offers the rare opportunity to witness established Indigenous artists mid-process as they take risks and explore new approaches and collaborations in a responsive, interdisciplinary environment.”
Read more about the full DECLARATION programming here.
Santee Smith. Image by Red Works.
John Morris, NAC Executive Chef
Also, on the menu, literally, is food – the best of what Ontario has to offer in the culinary arts.
On Monday night:
“le café presents a WINEMAKER’S DINNER that showcases and complements the delightful wines of Pelee Island, Canada’s oldest and most southerly wine region. For this special occasion, National Arts Centre Executive Chef JOHN MORRIS will prepare a sumptuous five-course menu with all-Ontario ingredients, and every course will be paired with the finest varietals that Pelee Island has to offer. Winemaster MARTIN JANZ, of Pelee Island Winery, will be in attendance.”
On Tuesday night:
“Experience the innovative and mouth-watering creations of more than a dozen top chefs from across the province as they vie for the $10,000 top prize in the ONTARIO CULINARY CHALLENGE. Each chef will prepare uniquely Ontario small plates, using a selection of 100% local and regional meats, cheeses, fruits, and vegetables. With the support of Wine Country Ontario, chefs will be partnered with Ontario wineries to produce the perfect food-wine pairings, which attendees can sample throughout the night. Rub elbows with chefs, sommeliers, and media, sample some of the province’s finest wines, and cast your vote to award the first-place prize for the very best of the best in Ontario’s culinary arts.”
Alright, time for a 2nd shot of espresso and I will be ready to go.
Looking at the typography of a city through an Indigenous lens can fracture what we think we know. Chorography is the act of “describing or mapping a region.” The chorography of our cities effectively maps multiculturalism but underneath the Little Italys and Chinatowns original place markers have been trampled under the foot of many a newcomer.
Recent headlines have pointed to Winnipeg as being one of the most racist cities in Canada. For the urban Indigenous population in Winnipeg the city, whose name is derived from the Cree word win-nipi, is marked with anxiety. Marvin Francis was a playwright, author, visual artist and poet from Heart Lake First Nation and his experience of living on the “Urban Rez,” as he referred to Winnipeg, formed itself into a book titled City Treaty: a long Poem.
I was being followed
so I took my usual back alley route
trash can trails
make ’em get their feet dirty
but it was no use
you cannot shake a clown
that mask sees all
we begin the treaty project
we needed money we wrote
on the back maize flake boxes expensive
knows ever since sky ripples
mingles clown city native
write new treaty cost heap big money
the clown surveys post/city/modern/after treaty/after
lawyer = life
finds the reality:
As a teenager, moving off his reserve to the city, Marvin developed a complex relationship with Winnipeg.
“The urban Aboriginal experience is dependent upon the circumstances of the individual, and speaking in general terms is always dangerous, but I think it is a fair statement that, for the average Native who comes from the Rez, the city contains a spectrum that ranges from new possibilities to that social monster, crack.” Read more…
It’s hard to know where you are standing when the original place markers become impossible to find. But they are still there for those who are tenacious enough to search. Sometimes names hint at the histories that lay just below the surface of maps made for our ‘modern’ times.
tkaronto (Kanien’kehake), onitariio (Wyandot)
Where the trees are standing in the water, the beautiful lake
Counter-mapping is a term used to refer to the intentional use of mapping methodology and technology such as GIS, cartography and geomatics to make visible how dominant power systems have used maps as a way to assert control over territories often for the purpose of resource extraction and/or settlement.
Beyond the legal applications counter-mapping combined with visual ways of expressing space are being used by artists as a way of marking places with counter-narratives.
Sarah Yankoo “is Algonquin, Irish, Hungarian, Romanian and Scottish and edge walks between the bush and the city that gathers in Toronto.” While in York University‘s Environmental Studies program she discovered the poetry of Marvin Francis in a class titled Indigenous Literature, Survival and Sovereignty and for her, the earth moved. Her response was to become one of the tenacious ones who seeks to uncover what some have tried to make us forget. Her photographic work is about creating an image bank demonstrating that in urban spaces a counter-mapping movement is taking place – graffiti tagging, arts activism, and even random formations seem to be giving us a message.
In underpasses, subway stairs and skyscrapers Sarah finds markers that signify we may be at the moment before a seismic shift is about to go down. The ‘Urban Rez’, as Indigenous populations explode, can become a place of renewal and a city, like Toronto / Tkaronto is capable of flexing intuitively – as though it remembers. The shape of the map may not be changing, but the rigid borders of colonial mindsets shift to create a dynamic that will forever change the emotional contours of a city.
Top image of Haida artist Corey Bulpitt’s mural. Bottom image Métis symbol replicates on subway stairs. Both by Sarah Yankoo.
Sarah has also found a way to continue the work that Marvin started by “writing her own treaty poems while exploring the piece [City Treaty] as an installation work and political engagement piece.” For the University of British Columbia’s exhibit Claiming Space: Voices of Aboriginal Youth at the Museum of Anthropology she contributed City Treaty Manuscript. (view City Treaty Manuscript image above)
“Claiming Space: Voices of Urban Aboriginal Youth looks at the diverse ways urban Aboriginal youth are asserting their identity and affirming their relationship to both urban spaces and ancestral territories.” Read more…
KIMIWAN ‘ZINE‘s SIXXX edition featured Sarah’s treaty poem push that bush as well as her work titled your X mark (pictured below)
KIMIWAN ‘ZINE is a quarterly publication that showcases words + art from emerging + established Indigenous, First Nations, Métis, and Inuit writers + artists. Kimiwan is independently published by a collective of Indigenous artists, writers, students + community members.
Kimiwan was started by Joi T. Arcand and Mika Lafond in summer of 2012.”
Top image X marks an urban spot. Bottom image peace and moccasins. Both images by Sarah Yankoo.
The Revolution will be Indigenized.
Marvin, who passed away in 2005, wrote of Toronto:
“Winnipeg, with its high Aboriginal population, is one place where you can walk downtown and meet other Aboriginals. Regina is like that, too, but a city like Calgary or Toronto has few Aboriginals visible downtown.”
In Toronto First Nations, Métis or Inuit populations can become invisible, absorbed into the multicultural mix but as the city becomes more inquisitive about Indigenous histories and contemporary realities after the earth moved during Idle No More, the Toronto of Marvin’s recollection is rapidly changing. A growing Indigenous presence comprised of artists, activists and academics is drafting a new city treaty with their work. This isn’t just taking place behind the institutional walls of universities and museums – their work spills out into the streets.
During the summer of 2013 Ryerson professor Hayden King (Anishinaabe from Beausoleil First Nation on Gchimnissing) along with artist and educator Susan Blight (Anishinaabe from Couchiching First Nation) embarked on an intervention under the name Ogimaa Mikana (Leader’s Trail in Anishinaabemewin). In different locations in downtown Toronto street signs and memorial plaques were subtly counter-mapped by placing Indigenous names and text over the ones put in place by the operating Governments of Canada. Spadina was changed to Ishpadinaa and a plaque was covered at Queen’s Park with the words:
With round dances taking place inside shopping malls and pow wows outside on University campuses even the rhythm of the city has changed.
Sarah also uses music as a way to infuse urban streets with Indigenous vibrations. She makes mouth bows out of branches she searches for when out in the bush. Inspired by the music of Buffy Sainte-Marie as well as A Tribe Called Red she also performs and is often remixing the recordings of her mouth bow on her iPad.
This coming Saturday she will performing alongside Skookum Sound System for Native Women in the Arts Catalyst Series hosted with the BOLD As Love Collective at the Musical Gallery, Toronto. Collectives like BOLD As Love, with their spoken word and musical performances, showcase the plurality of Indigenous voices fleshing out a deeper meaning of diversity.
The words of our lost languages have hidden meaning And while business talks a level playing field Native landscapes can contain asphalt back onto our feet As the land itself invents our soundscape (read Sarah’s full treaty poem Edgewalker Remix below)
Counter-mapping and marking alternate meanings into the urban space becomes a therapeutic act. Time to dig down into the bedrock to excavate those solutions.
We all walk these edges uncertain
On border slippery
Between dirt poor
And filthy rich
Between the bush and city
Between sandy hot beach laughter
& heart breaking tears crying in the snow
We point out the edges that cut off our mind
Invisible borders stronger than barbed wire
Cement our paths to our edge walking ways
To lost children
& a Trail of Beers
When all you really want is to do is just go home
Play in a garden where pedals do not bite
Where the fingers fold in prayer
Where the smile heals eyes
Burnt by too much evening
For the young
& The old experienced love that still dares
The smoke is white and the crackle is electric
So pull your thoughts of others from history into today
And we all emerge from
Actual treaty lines
into the native-aboriginal- First Nation- last chance Indian status- cuz you went
trapping that day universe
The words of our lost languages have hidden meaning
And while business talks a level playing field
Native landscapes can contain asphalt back onto our feet
As the land itself invents our soundscape
What words describe agony of kids torn away
Language ILL legal
Of a circle of a people with their hearts in the fire
spirits in the electric smoke
& Minds in the crackle with knowledge for
To those treaties smouldering and collecting our dust
To loop the difference in times zoned
Flash present to a disguise that fools nobody’s god
Flash back again and again over and under and through the flashing
To the territory as large as the land itself
Reach the borders and the sounds that fit the land contours
And while the rivers wash from the inside and the prairie undulates from the Canadian
Shield up one side of the Rockies and down the Mackenzie. Remember there is no
linear in the bush, and the city only thinks it does. so you can finally figure out that the
land is owned only by our children and never by us
Argue/bitch/question/probe/tear apart/challenge/discuss until everyone is sick of it
Then do it again
For you must remember what the people went through
Above images of Sarah Yankoo by Leah Snyder for Mixed Bag Mag.
EDITOR’S NOTE: Sarah is rocking a jacket by Toronto based Dene designer Sage Paul and boots by Métis owned company Manitobah Mukluks. You can support Indigenous designers by signing a petition against DSquared’s #DSquaw collection from Milan Fashion Week at Change.org. The petition asks that Dan and Dean Caten apologize for their actions and as Canadians donate the profits from their collection to an organization that supports the rights of Indigenous women here in Canada. Click here to sign.
Listen to Sage Paul speak on the issue to Metro Morning’s Matt Galloway here.
“Urban fabric as a metaphor for the city” ~ Deborah Wang
“The artists in Urban Fabric: Portraits of a City engage with the interwoven hard and soft dimensions of the city from multiple perspectives; their photographs, paintings, sculpture, film, and pattern-making create a portrait of a city, often taking Toronto as their subject.”
This year’s Toronto Design Offsite included an interesting partnership between TO DO and the Textile Museum. Urban Fabric: Portraits of a City, curated by TO DO’s Creative Director Deborah Wang (pictured right) traversed the intersections of what comprises a city – “the built environment, webs of individuals, and the social, technological, and economic processes that produce a particular urban framework” as well as the insertions / assertions of nature.
The exhibit featured stunning photography by Scott Norsworthy that included the West End of Toronto. Hard isolating walls of bricks, unbroken expanses of asphalt and a multiplicity of electrical wires were softened by gentle light blanketing the concrete jungle with air and sky. Sheila Ayearst‘s series of Concrete paintings also contained a softness despite their subject matter. The canvasses, in varying shades of gray, had titles like Beaconsfield Concrete, again recalling the West End and its rapid development.
“Holes in the urban fabric, these sites speak to the city as an evolving network of development, appropriation, redevelopment, undoing, and neglect.” ~ Scott Norsworthy
“Visitors in search of escape instead encounter.” Jessica Craig
Jessica Craig’s large projection of a location along the Don Valley revealed the lushness of a green Toronto that doesn’t just exist as an unattainable Shangri-La in our imagination.
Don Valley #212 (2012). Image provided by Jessica Craig.
“Long protected from intervention by floodwaters and topography, the ravine defies construction and therefore profit: it is a fracture in an otherwise unified urban fabric.”
Jessica’s photographic work considers the concept of “terrain vague” and in her essay Landscape off the path she writes:
“Terrain vague is Ignasi de Solà-Morales’ term for abandoned spaces within a city that exist outside the common social realm and are often perceived as empty.”
These transitional spaces, because of the ambiguous mystery they offer city dwellers, hold latent potentiality as places of enchantment and restoration. “The value of the still unaffected land – and the relief it offers to a highly developed city – is difficult to quantify” but there is a sense that spaces, such as these, are seen as necessary in order to restore some sort of balance to the rigid confines of the constructed city.
(top to bottom) Don Valley #212, Don Valley #132, Don Valley #240(2012). Images provided by Jessica Craig.
“Roots are the first kind of textile.” ~ Scott Euson
For artist Scott Eunson plant roots are like fibers as they shoot up and spread out and the city is like fabric in that it is made up of many single “elements [fibers] that cooperate with the whole” as it rises up and moves out across the landscape like a rhizome. He spoke on how we often talk about the city as though it is a textile “neighbourhoods are knit together” or “densely woven.” He took wire and wood along with roots and bent metal, all found on walks through the city, to loop and twist a typography into place.
His piece Material Map – Toronto represents the complexity of urban spaces and their intertwining of newly digitized and still naturalized realities. The city is where we are often forced to locate our busy lives but not without letting go of our desire to feel our natural-ness now and again. As skyscrapers rise we haven’t completely forgotten the call of the waves. The shoreline always beckons us to return to some ancient cellular memory. Below the foundation of the city lies what was once the Glacial Lake Iroquois, what’s left now named Lake Ontario which means “Lake of Shining Waters” in the Wyandot language.
I like that this piece presented without judgement. In the assemblage there is no warning about the eradication of nature due to the city, the metal wires are able to co-exist with the natural. Despite the entanglement there is a type of order and an absence of hierarchy. The wood and wire take turns coming up between the foreground from the background, at times each receding, other times bending or breaking out of the grid.
The shape of the work represents Toronto as it is contained by the borders of the Humber River on the West and the Don River on the East. A few wires and twigs grow out past the North, West and East boundaries but at the shoreline of the Lake all halts, deferring to the great body of water that lies to the city’s south.
For me this piece is hopeful suggesting that there can be a resolution between the requirements of a city with all of its systems and our urban yearning for woods and water, that the existence of one doesn’t mean the end of the other.
Perhaps we can wrap ourselves around the notion that balance is not beyond our imagination and our quest to discover where it lies in the urban space is the taut thread that snaps everything in place.