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Excerpt from webapp.driftscape.com/map/11cf199e-ef7b-11eb-8000-bc1c5a8...:
Ben Johnston, the artist of this next piece, is known to use his plays with color, shadow, and creative viewpoint to create timeless typography that appears three-dimensional and brings the digital realm to a site-specific canvas. The bold mural transforms what was once a mundane wall to a positive message of hope, with a simple and common phrase. The flip in between the white and black contrast can speak to a physical, emotional or mental flip of perspective, allowing the audience to inherit the mind-set that it’s all going to be a-“ok”
Excerpt from webapp.driftscape.com/map/2d18579e-f2a3-11eb-8000-bc1c5a8...:
Lawrence Underpass Mural
Lawrence Ave underpass (at Weston GO/UP Express Station)
Underneath the railway is a colourful mural on both sides that incorporates flora, fauna and a modern touch with the use of graffiti font.
Artists Alex Bacon (Alexander Lazich) and Que Rockford (Quentin Rockford) have incorporated local flowers and wildlife against an abstract background. The artists use spray paint to give the animals and flowers a soft feel which contrasts with the hard lines and sharp edges of the graffiti-style writing.
Quentin is Anishinaabe and Odawa: the artist’s indigenous background influences his style of painting and ultimately the mural itself. Quentin fashions the images of animals in the style of native art.
The artists have incorporated natural features of the Humber River and Weston, such as great blue herons, saw-whet owl, blue jays, salmon and local flora such as the red trillium.
The mural is a celebration of Rockford’s family and heritage. If you look closely you will see an image of the artist’s great-great grandmother incorporated into the mural’s vibrancy.
Excerpt from webapp.driftscape.com/map/2d18579e-f2a3-11eb-8000-bc1c5a8...:
Lawrence Underpass Mural
Lawrence Ave underpass (at Weston GO/UP Express Station)
Underneath the railway is a colourful mural on both sides that incorporates flora, fauna and a modern touch with the use of graffiti font.
Artists Alex Bacon (Alexander Lazich) and Que Rockford (Quentin Rockford) have incorporated local flowers and wildlife against an abstract background. The artists use spray paint to give the animals and flowers a soft feel which contrasts with the hard lines and sharp edges of the graffiti-style writing.
Quentin is Anishinaabe and Odawa: the artist’s indigenous background influences his style of painting and ultimately the mural itself. Quentin fashions the images of animals in the style of native art.
The artists have incorporated natural features of the Humber River and Weston, such as great blue herons, saw-whet owl, blue jays, salmon and local flora such as the red trillium.
The mural is a celebration of Rockford’s family and heritage. If you look closely you will see an image of the artist’s great-great grandmother incorporated into the mural’s vibrancy.
Excerpt from webapp.driftscape.com/map/d53a7cae-f2a3-11eb-8000-bc1c5a8...:
Weston GO/Union Pearson Express Station Mural
1865 Weston Road
In the parking lot next to the Weston GO and UP Express station is a large mural done by Mahmood Popal and collaborator Jesse Albert. The mural is an interesting compilation of imagery of historical aspects of Weston including a lifesize photo of the local library and, of course, the penny farthing bicycle and a box of Kodak film, two items synonymous with Weston’s manufacturing past.
The artist used “rudimentary” pieces created by members of the community throughout the design. Community members of all ages participated through workshops hosted by Popal and Albert by using stencils created using pieces of paper, rags, plastic, and other objects.
He said by “crumpling it up and dipping it, pressing it, [it] makes a mark.” “It makes a pattern and if you start repeating those patterns you start to get an art piece.”
At a closer glance you will notice that the top half of the mural is vinyl and the lower half is painted. There had been a large print affixed to the wall the year prior, but people were tearing at the material. It is interesting to see how the artist continues the patterns of the vinyl using paint.
Excerpt from webapp.driftscape.com/map/4060ecae-7510-11ec-8000-bc1c5a8...:
Untitled by Cheyenne Gold: I migrated to Canada from Trinidad as a child with my parents and siblings and we settled in North Etobicoke, eight minutes away from this mural location. For newcomers, it is very important to keep in touch with elements of home and feeling represented, and I remember not feeling represented and frankly misunderstood as someone from a small island. So I saw this mural as an opportunity to contribute to the visibility of Caribbean culture and I asked myself what would I have liked to see on a wall when I was a young immigrant Caribbean child growing up in this neighbourhood. I chose to depict a recognizably natural Caribbean scene of an island silhouette and a sky full of texture, colour, and contrast through a familiar tie-dye pattern, that would hopefully appeal to children and families. Elements of international travel are also highlighted in this piece to represent the resilient journeys embarked upon by Caribbean migrants.
Caribbean people represent a plethora of cultures, in Trinidad specifically a majority are descendants of Africa and India post-colonialism, and even after centuries of adversity and linear migration, people of the Caribbean diaspora seem to always successfully revive their identity even when “home” is outside of the Caribbean region. Thus, to me, Caribbean migrants, of whom make up the second largest ethnic group of North Etobicoke, are naturally resilient.
Excerpt from webapp.driftscape.com/map/387cddbe-d974-11eb-8000-bc1c5a8...:
From Here to Now
Bayview Station
Throughout Bayview station you’ll find twenty-four pieces. Start exploring and look for black swirls on the floors and walls. At first you might not recognize what they are, but keep moving, when you view these works from the right perspective you’ll have that A-Ha moment! You’ll often see a block of colour near the black illustration, shift your perspective until it starts to look like a square to view the piece from the right angle. Keep your eye out for a needle and spool, a tea cup, a cut apple, slices of lemon, a salt shaker. There are more treasures in store up the stairs.
The visual distortion, known as anamorphosis, shifts with the viewer’s position. The image seems distorted when seen from a frontal position but when viewed from one side or from an angle it resumes normal proportions. For a real treat view the images through the lens of your smartphone: they’ll appear as if in augmented reality – a ladder leaning against the wall, a stepladder, a pocket watch floating in the air, a dog waiting at the top of the stairs for its owner to come home.
The work heightens our awareness about movement and travel through these pedestrian spaces and infuses our experience with a sense of play. The pieces are made from waterjet-cut glazed ceramic tiles laid in the walls and floors, and based on free-hand black line drawings. The artist, Panya Clark Espinal, is a Toronto-based multi-media installation artist who has produced many public art commissions. Her pixelated interpretation of the famous Jack Pine painting by Tom Thomson is installed at Barberry Place, just a block from this station.
Excerpt from webapp.driftscape.com/map/accc124e-ef7b-11eb-8000-bc1c5a8...:
Mateo's practice embraces the diverse cultures and symbols he amassed during his travels. He redefines traditional, iconic, painted carpets by representing ornamented faces of women, who are historically linked to the weaving of carpets. Faces of Tradition is a piece adorned with ancient motifs, as well as tribal and spiritual metaphors painted by the artist, that highlights striking feminine features. Mateo explains that his artwork forces us to question our cultural identity and universal consciousness in a relentless system that pushes for uniformity and homogeneity in contemporary mass culture.
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Excerpt from webapp.driftscape.com/map/bd1e396e-f2a1-11eb-8000-bc1c5a8...:
Weston Road Flow
34 John Street
This is a multi-panel mural, which references Drake’s Weston Road Flows as the title, that pays homage to Weston as the home of the bicycle, the manufacturing of which was an important industry in Weston.
Nineteen panels stand in single and grouped segments to the right of the Artscape Weston Common building. The panels, whether grouped or single, are spaced evenly and each segment is dedicated to bicycles and their various owners.
The mural, done in spray paint, consists of people set against a backdrop of abstract geometrical shapes. In the mural, each segment is dedicated to a specific scene, whether it be a young girl on a pink tricycle or a couple sharing a bike ride together.
The artist uses the people of the mural to tell a story, depicting them donning time-specific fashion or tying in the bicycle's history in the area. Their posture depicts the mood of the rider or what the bicycle is being used for such as a competitive race or a leisurely ride through a park.
An interesting thing to note is that the artist incorporates different types of bicycles into the design. This can be identified by making note of the handlebars of the bikes.
The mural captures the members of the community of Weston and the diversity of the bikers in the area along with the myriad of uses for the bicycle such as commute, leisure, exercise and sport.
Excerpt from webapp.driftscape.com/map/2d18579e-f2a3-11eb-8000-bc1c5a8...:
Lawrence Underpass Mural
Lawrence Ave underpass (at Weston GO/UP Express Station)
Underneath the railway is a colourful mural on both sides that incorporates flora, fauna and a modern touch with the use of graffiti font.
Artists Alex Bacon (Alexander Lazich) and Que Rockford (Quentin Rockford) have incorporated local flowers and wildlife against an abstract background. The artists use spray paint to give the animals and flowers a soft feel which contrasts with the hard lines and sharp edges of the graffiti-style writing.
Quentin is Anishinaabe and Odawa: the artist’s indigenous background influences his style of painting and ultimately the mural itself. Quentin fashions the images of animals in the style of native art.
The artists have incorporated natural features of the Humber River and Weston, such as great blue herons, saw-whet owl, blue jays, salmon and local flora such as the red trillium.
The mural is a celebration of Rockford’s family and heritage. If you look closely you will see an image of the artist’s great-great grandmother incorporated into the mural’s vibrancy.
Excerpt from webapp.driftscape.com/map/d53a7cae-f2a3-11eb-8000-bc1c5a8...:
Weston GO/Union Pearson Express Station Mural
1865 Weston Road
In the parking lot next to the Weston GO and UP Express station is a large mural done by Mahmood Popal and collaborator Jesse Albert. The mural is an interesting compilation of imagery of historical aspects of Weston including a lifesize photo of the local library and, of course, the penny farthing bicycle and a box of Kodak film, two items synonymous with Weston’s manufacturing past.
The artist used “rudimentary” pieces created by members of the community throughout the design. Community members of all ages participated through workshops hosted by Popal and Albert by using stencils created using pieces of paper, rags, plastic, and other objects.
He said by “crumpling it up and dipping it, pressing it, [it] makes a mark.” “It makes a pattern and if you start repeating those patterns you start to get an art piece.”
At a closer glance you will notice that the top half of the mural is vinyl and the lower half is painted. There had been a large print affixed to the wall the year prior, but people were tearing at the material. It is interesting to see how the artist continues the patterns of the vinyl using paint.
Créditos - Credits:
melindabaynsl.blogspot.com/2021/08/ladies-power.html
TikTok here:
www.tiktok.com/@melindabaynsl/video/7000579448198188294?l...
Excerpt from webapp.driftscape.com/map/5123397e-e3f3-11eb-8000-bc1c5a8...:
Croft St. at College St.
On both sides of tiny Croft Street are several murals. This particular mural is by Elicser Elliot, a Canadian born artist and a legendary figure in Toronto’s street art community. His work can be found across the city as well as Africa and the Caribbean. His work is known for its organic shapes and layered textures which build to form the figures in his work. His work has been exhibited at the Art Gallery of Ontario and the Royal Ontario Museum and he is also responsible for the iconic “Hug Me” tree on Queen Street West at Soho Street. What I love about this piece is the raw emotion and the message reminding us to “protect our energy”.
Excerpt from webapp.driftscape.com/map/cfd0b1de-d088-11ec-8000-bc1c5a8...:
Swimming with the Giants
79 Wellington Street West
Commissioned by Cadillac Fairview, this large work on paper by celebrated Inuit artist Tim Pitsiulak was created entirely in pencil and crayons. This beautiful work depicting Beluga whales swimming together was completed in two pieces and merged perfectly. Tim’s life as a hunter and naturalist are reflected in his one-of-a-kind free hand drawings.
Excerpt from webapp.driftscape.com/map/de4ee4fe-f683-11eb-8000-bc1c5a8...:
Japanese Canadian Cultural Centre Ikeda Tower and Garden
6 Garamond Court
Look up! The Sid and Marie Ikeda Tower was erected in 1998 when the JCCC moved to its current location at 6 Garamond Court. It acts as a welcoming beacon to the community and has become one of the JCCC’s signature architectural features. It was designed, in the style of a Japanese andon lantern, by Bruce Kuwabara of KPMB Architects.
As you walk under the tower and closer to the JCCC’s main entrance, on either side of the walkway you find the Ijusha Garden, named in honour of the post-war new immigrant community. This traditional Japanese landscape garden was officially opened in June 1999 by Prince and Princess Hitachi-no-Miya of Japan. It was designed by landscape architect Scott Yonezo Fujita, who first trained in Japan and then received his Canadian credentials at the Ryerson Institute of Technology.
Shin-ijusha is the Japanese word for Japanese immigrants who arrived in Canada after WWII. Fujita-san, through his design and building of this garden, sought to bring the established pre-war Japanese Canadians and the Shin-ijusha communities together to celebrate their common heritage. About 70 children from four different Japanese language schools of Ijusha families volunteered to plant boxwoods in the garden.
On both sides of the garden, you will see Japanese flowering cherry trees. Stepping onto the central sidewalk is like strolling through a landscape in Japan. The garden evokes images of the mountains and seas of Japan. Pine trees shaped like bonsai as aged, large rocks, raked gravel and other trees and bushes are strategically placed after much consideration to create that impression. Textures of hard and soft, large trees and small shrubs, subtle colours in varying shades of green, strong lines and shapes contrasting with more diffuse backgrounds– these elements are all carefully chosen and placed to create a natural harmony. Drawing from traditional Japanese garden elements, there are bamboo fences and a large stone lantern. As the garden is a living installation, it is always evolving and requires constant maintenance. Left to nature, the plants would overgrow and lose their form, weeds would take over and the tranquillity, balance and harmony of the garden would be lost. Today, the Toronto Japanese Garden Club and volunteers tend the gardens.
Excerpt from webapp.driftscape.com/map/03eebe1e-ef7c-11eb-8000-bc1c5a8...:
This is a psychedelic mural that brings the audience into another realm of imagination and fantasy. Jason explains that his work reflects reflection, looking in and looking out. Each image is a composite of smaller ones, and the completion of the parts create the whole. This mural uses high realism and beautifully intricate natural figures native to Ontario that create a surrealism-like juxtaposition. A captivating piece that sparks life and excitement in an otherwise ordinary space.
Excerpt from webapp.driftscape.com/map/40da324e-d08c-11ec-8000-bc1c5a8...:
Restless Prowling from Night to Daybreak
66 Wellington Street West
This 7 x 26 foot master work by American artist Susanna Heller was commissioned by Cadillac Fairview. It depicts her vision of downtown Toronto from night fall to daybreak as it is viewed across its six panels from right to left.
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Excerpt from webapp.driftscape.com/map/9dd8a5de-eaaa-11eb-8000-bc1c5a8...:
Portuguese Monument by Unknown Artist, High Park: This marble cross to the west of Colborne Lodge Drive honours Portuguese immigrants to Toronto. Just below the cross itself is the Portuguese crest and a fragment of an epic poem, The Lusiads, by 16th century Portuguese poet, Luis Vaz de Camoes, celebrating the exploits of legendary Portuguese explorers and adventurers. The column is modelled on the landmarks in the form of a cross that Portuguese explorers would erect when they entered new lands. The cross sits on a terrazzo base with a compass rose, recalling the Portuguese navigators who have explored much of the world. See if you can find north!
The cross was erected in 1978 to mark the 25th anniversary of the establishment of the Portuguese community in Toronto. On May 13, 1953 the ship Saturnia arrived in Halifax from the Azores, bringing the first Portuguese emigrants to Canada under a new labour agreement. Over the next 25 years, more than 150,000 Portuguese would emigrate to Canada.
Excerpt from webapp.driftscape.com/map/bd1e396e-f2a1-11eb-8000-bc1c5a8...:
Weston Road Flow
34 John Street
This is a multi-panel mural, which references Drake’s Weston Road Flows as the title, that pays homage to Weston as the home of the bicycle, the manufacturing of which was an important industry in Weston.
Nineteen panels stand in single and grouped segments to the right of the Artscape Weston Common building. The panels, whether grouped or single, are spaced evenly and each segment is dedicated to bicycles and their various owners.
The mural, done in spray paint, consists of people set against a backdrop of abstract geometrical shapes. In the mural, each segment is dedicated to a specific scene, whether it be a young girl on a pink tricycle or a couple sharing a bike ride together.
The artist uses the people of the mural to tell a story, depicting them donning time-specific fashion or tying in the bicycle's history in the area. Their posture depicts the mood of the rider or what the bicycle is being used for such as a competitive race or a leisurely ride through a park.
An interesting thing to note is that the artist incorporates different types of bicycles into the design. This can be identified by making note of the handlebars of the bikes.
The mural captures the members of the community of Weston and the diversity of the bikers in the area along with the myriad of uses for the bicycle such as commute, leisure, exercise and sport.
Entrance to Dover Castle's main area as you come in from the car park.
According to the Kent council website, this was built somewhere in the 1200s.
Unfortunately I couldn't find out who the 'Colton' was named after (or if it was named after someone).
heritage.kent.gov.uk/Monument/MKE111529
webapps.kent.gov.uk/KCC.ExploringKentsPast.Web.Sites.Publ...
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Excerpt from webapp.driftscape.com/map/bd1e396e-f2a1-11eb-8000-bc1c5a8...:
Weston Road Flow
34 John Street
This is a multi-panel mural, which references Drake’s Weston Road Flows as the title, that pays homage to Weston as the home of the bicycle, the manufacturing of which was an important industry in Weston.
Nineteen panels stand in single and grouped segments to the right of the Artscape Weston Common building. The panels, whether grouped or single, are spaced evenly and each segment is dedicated to bicycles and their various owners.
The mural, done in spray paint, consists of people set against a backdrop of abstract geometrical shapes. In the mural, each segment is dedicated to a specific scene, whether it be a young girl on a pink tricycle or a couple sharing a bike ride together.
The artist uses the people of the mural to tell a story, depicting them donning time-specific fashion or tying in the bicycle's history in the area. Their posture depicts the mood of the rider or what the bicycle is being used for such as a competitive race or a leisurely ride through a park.
An interesting thing to note is that the artist incorporates different types of bicycles into the design. This can be identified by making note of the handlebars of the bikes.
The mural captures the members of the community of Weston and the diversity of the bikers in the area along with the myriad of uses for the bicycle such as commute, leisure, exercise and sport.
Excerpt from webapp.driftscape.com/map/bd1e396e-f2a1-11eb-8000-bc1c5a8...:
Weston Road Flow
34 John Street
This is a multi-panel mural, which references Drake’s Weston Road Flows as the title, that pays homage to Weston as the home of the bicycle, the manufacturing of which was an important industry in Weston.
Nineteen panels stand in single and grouped segments to the right of the Artscape Weston Common building. The panels, whether grouped or single, are spaced evenly and each segment is dedicated to bicycles and their various owners.
The mural, done in spray paint, consists of people set against a backdrop of abstract geometrical shapes. In the mural, each segment is dedicated to a specific scene, whether it be a young girl on a pink tricycle or a couple sharing a bike ride together.
The artist uses the people of the mural to tell a story, depicting them donning time-specific fashion or tying in the bicycle's history in the area. Their posture depicts the mood of the rider or what the bicycle is being used for such as a competitive race or a leisurely ride through a park.
An interesting thing to note is that the artist incorporates different types of bicycles into the design. This can be identified by making note of the handlebars of the bikes.
The mural captures the members of the community of Weston and the diversity of the bikers in the area along with the myriad of uses for the bicycle such as commute, leisure, exercise and sport.
Excerpt from webapp.driftscape.com/map/95baac1e-f2aa-11eb-8000-bc1c5a8...:
Nyctophilia
2 Dennis Ave. / 1038 Weston Rd.
This sculpture, designed by Christian Giroux and Daniel Young and installed in 2014, is a series of ten concrete light poles with multiple street lamps branching off them which illuminate in different colours and patterns at night. The poles are grouped around the street corner and travel down Dennis Avenue along the sidewalk. If you look up, rather than ending predictably in a single street lamp branch at the top of the pole, each pole has two to four branches going in random directions, none of them touching despite their close proximity, like the branches of trees in a forest.
Because street lamps are such a familiar part of our city’s infrastructure, you could easily walk or drive by during the day without realizing you were passing a public sculpture. The street lamps and poles are nearly identical to the poles that line every street in the city, so they are not immediately noticeable except in their strange concentration. In the words of Christian Giroux, they wanted to work with normal, everyday pieces of urban infrastructure - take something that’s kind of invisible and turn it into something extraordinary.
After dark however, the street lamps begin to light up with all different colours in random patterns that change from night to night. The work’s title “Nyctophilia” refers to a preference for night or darkness. Daniel Young points out “there is a romanticism about coloured lights in the city. We are programming this with a sort of personality, so it performs different ways at different times.” In other words, depending on when you visit, the 36 computer controlled multi-colour LED street lamps will light up in different groupings and with different colour patterns, transforming the street corner with one of 20 distinct randomized lighting programs.
What I loved about exploring this piece myself was that element of the unexpected, because it really does blend in with the city until you are under it, but then when you take note of it you see that it really does change the space. Walking under it and experiencing it up close in parts or looking at it as a whole from across the street, it really does change an otherwise bland corner into a magical little world that feels almost intimate.
Excerpt from webapp.driftscape.com/map/9266628e-d089-11ec-8000-bc1c5a8...:
Umbratus
100 Wellington Street West, West Tower
This compelling work by Ric Evans was commissioned by Cadillac Fairview in 2014. Recognized as an inventive colorist and abstract artist, Ric uses a lively colour palette restrained by bold black bars to honour the esthetic of architect Mies van der Rohe, designer of the Toronto Dominion Centre, and represent the TD Centre community.
Excerpt from webapp.driftscape.com/map/75d7590e-f2a2-11eb-8000-bc1c5a8...:
Weston: Home of the Bicycle Mural
Lawrence Ave and S Station St
This mural is located next to the mural series “Weston: Then and Now” on the same building at The York West Active Living Centre and may appear to be a continuation of the series.
The mural is titled: "Weston: Home of the Bicycle" and celebrates Weston’s history as “the home of the bicycle” due to its connection to the Canadian Cycle and Motor Co. Ltd. The cycle giant’s 232,000-square-foot head office and factory were once located in Weston from 1917 to 1983.
The image shows cyclists on the recreational trail along the Humber River with the 150-year-old Weston CNR Bridge in the background. The mural looks like a typical day on the trail, with the use of brush and paint mimicking a stencil style coming together to form detailed imagery of the foliage surrounding most of the trail as well as its typical occupants.
Excerpt from webapp.driftscape.com/map/410522ae-e7c8-11eb-8000-bc1c5a8...:
Places in a Book - Sussex
Spadina Ave and Sussex Ave
Look for a rooster and a dog atop two tall poles near the streetcar stops in the centre of Spadina. Let’s hear from artist Stephen Cruise about how he imagined people might experience these works as part of their daily commute. We’ll also hear a story about how this piece affected one neighbourhood woman in a particularly emotional way. The clip you’re about to hear is a part of the Artbuzz project produced by David Tarnow.
My name is Stephen Cruise and I was fortunate enough to get the commission to do these works that are entitled "Places in a Book - Six Chapters", consists of six bronze elements at 3 crossroads along Spadina: one at Sussex, another at Harbord and the last at Wilcox.
The 2 bronzes you're looking at now consist of, on the west side a rooster and on the east side a dog. This is the first stop out of Bloor going south on the streetcar line. And I came across the fact that there was such a thing as a Sussex Rooster. And overlapping that with the fact that this was the first stop, the rise of the day, I then felt that the two had sort of come together and decided on this depiction of a Sussex Rooster. The rooster is facing the rise of the morning sun, which is generally speaking in the east for us.
Directly opposite the rooster you find the dog. Now, what was of interest here was that these two poles would be opposite each other, one on the west side of Spadina southbound, the other would be on the northbound on the east side. So this set up a particular dynamic for me as far as picking the Sussex Rooster to represent the begin of your journey. On the wayward home trip you have the dog waiting for you. This would be the last stop before you enter the subway at Bloor. And what's atop this pole you find a dog. It's a particular dog, it's a Sussex Spaniel.
Probably the most interesting story that happened about this Sussex Spaniel was on opening day. I can remember they had an opening ceremony right at this end of the line, again at the beginning of the line. And I was there present, sort of in the back seat watching the various politicians give the speeches about this new, improved and bringing back the streetcar to Spadina. And at some point in time a woman realized that I was the person who was responsible for these works. And she immediately told me of an experience that she had. She lived in the house directly opposite the dog on the 3rd floor and what had happened to her was that her dog had died and she went through this painful experience of loss of this dog. And somewhere right in the middle of that we had installed these works. And one day, probably the day after we had installed - they hadn't been there before - and she went to the window and she opened the curtain and there was this dog and she just broke down crying. And it was almost as though her dog had been memorialized before her very eyes. And I thought, "Something's working correctly when you have things happen like that." Yeah, true story.
Excerpt from webapp.driftscape.com/map/623d6f9e-d089-11ec-8000-bc1c5a8...:
Japan
100 Wellington Street West, West Tower
Completed in 1972, this stunning work by artist John Meredith reflects the abstract esthetic and energy of 1970s New York. Painted from a small sketch 6” x 24”, its size and muscular power capture the energy and essence of a busy urban existence.
Excerpt from webapp.driftscape.com/map/23654bfe-eaaa-11eb-8000-bc1c5a8...:
November’s Pyramid by Bernard Schottlander, High Park: As you approach this sculpture, seeing its shape emerge from the bushes, it appears like a stepped pyramid rising from an ancient landscape. Indeed its placement here, a little back from the path, amongst the shrubs, reinforces the impression that this is an artifact from another time or place, from a lost civilization, its purpose unknown until it sits alone in the forest. But on closer inspection it’s crisp corners and narrow base contrast with its ancient shape. Today, like large steel Jenga blocks, it is sometimes a climbable structure for adventurous children. It is a solid, robust, almost muscular form but rests on a support so slender it seems it might topple if pushed. Perhaps the clue lies in the title of the piece, November’s Pyramid, the year's work which might collapse before year end.
This is not the only pyramid by Bernard Schottlander – another Pyramid at Tübingen, Germany, was completed in 1976. Schottlander was fresh from his second successful solo exhibition when he was invited to the 1967 Symposium here. Born in Mainz, Germany into a Jewish family of art enthusiasts, he fled Nazi Germany in 1939, arriving at Leeds where he worked in a factory as a welder while attending evening classes in sculpture at the Leeds College of Art. He studied sculpture at the Anglo-French Centre in St John's Wood, London, and Industrial Design at the Central School of Arts and Crafts in London. In 1951 he began his own industrial design workshop, notably creating the ‘Mantis’ series of lamps.
Excerpt from webapp.driftscape.com/map/b0ae632e-db0f-11eb-8000-bc1c5a8...:
Ossington Particles
Ossington Station
Beneath the ground near Ossington Station lies the vestiges of Garrison Creek which drained the watershed north of St. Clair Avenue into Lake Ontario at Toronto Harbour. Like its neighbour Taddle Creek, it is now buried, and lost to time and urban development. Although these buried creeks still have ways to make themselves known through wet basements, tilting buildings and city signage.
The “particles” on the station walls trace the outline of the creek as they guide us toward the platform exits, now guiding the flow of people, not water.
Approximately 800 acrylic tiles in the black and red colours of Ossington Station mark the lines of the watershed and tell the story of the natural and human history of this site. But the story is uncertain, traced in dotted lines, like fragments of a puzzle, an outline of what once was. Between benches and on staircase landings rise vertical segments like trees or prehistoric plants. At the Westbound Platform exit what looks like a red pinecone is outlined on the wall, and a small forest occupies the Eastbound Platform exit. These particles pay tribute to the site's history, and the natural layers that have been displaced by the city through which we now travel.
Organic forms are important to artist Scott Eunson, and a recurring theme in his work. He is one of the creators of the plant-shaped bike posts you may have seen around Toronto. Scott is a designer, architect and artist working in Toronto.
Excerpt from webapp.driftscape.com/map/5123397e-e3f3-11eb-8000-bc1c5a8...:
Croft St. at College St.
On both sides of tiny Croft Street are several murals. This particular mural is by Elicser Elliot, a Canadian born artist and a legendary figure in Toronto’s street art community. His work can be found across the city as well as Africa and the Caribbean. His work is known for its organic shapes and layered textures which build to form the figures in his work. His work has been exhibited at the Art Gallery of Ontario and the Royal Ontario Museum and he is also responsible for the iconic “Hug Me” tree on Queen Street West at Soho Street. What I love about this piece is the raw emotion and the message reminding us to “protect our energy”.
ezimba is a web site that can apply different imaging effects.
I used one picture for all the effects just for consistency for comparison. The title for each photo consists of the category of the effect and the name of the effect. Some effects would be better used on a different image. There are some effects also that appear to do the same thing in different effect categories.
Ezimba also has a Facebook app, Google Android app, and a free iPhone app. Please note that the free iPhone app puts a small logo on the edited image. You can buy the paid ezimba app and not have the logo.
Excerpt from webapp.driftscape.com/map/b0ae632e-db0f-11eb-8000-bc1c5a8...:
Ossington Particles
Ossington Station
Beneath the ground near Ossington Station lies the vestiges of Garrison Creek which drained the watershed north of St. Clair Avenue into Lake Ontario at Toronto Harbour. Like its neighbour Taddle Creek, it is now buried, and lost to time and urban development. Although these buried creeks still have ways to make themselves known through wet basements, tilting buildings and city signage.
The “particles” on the station walls trace the outline of the creek as they guide us toward the platform exits, now guiding the flow of people, not water.
Approximately 800 acrylic tiles in the black and red colours of Ossington Station mark the lines of the watershed and tell the story of the natural and human history of this site. But the story is uncertain, traced in dotted lines, like fragments of a puzzle, an outline of what once was. Between benches and on staircase landings rise vertical segments like trees or prehistoric plants. At the Westbound Platform exit what looks like a red pinecone is outlined on the wall, and a small forest occupies the Eastbound Platform exit. These particles pay tribute to the site's history, and the natural layers that have been displaced by the city through which we now travel.
Organic forms are important to artist Scott Eunson, and a recurring theme in his work. He is one of the creators of the plant-shaped bike posts you may have seen around Toronto. Scott is a designer, architect and artist working in Toronto.
Excerpt from webapp.driftscape.com/map/712a4c0e-e9ec-11eb-8000-bc1c5a8...:
Home (Bell Box)
Royal York Rd., north of Hornell St. (west side)
The mural in front of you is a large box painted with fields of green grass and blue skies with passing clouds. There is a pink fence and a small white house with smoke coming out of its chimney, 3 pink ponies running in the fields, a white dog with black spots, and ducks swimming in the pond.
Natalie Very B., the artist behind this piece, is a Polish-Canadian illustrator, muralist, educator, and art therapist in training. Natalie used to only exclusively depict strong, feminist women in her murals. However this opportunity to collaborate with Neighbourhood Love allowed her to think as well as paint, literally, “outside the box”. With this piece she learned how to expand her colour palette and work with natural, yet still whimsical, landscapes. She truly hopes that this artwork brings a bit of sunshine to the Etobicoke area and all of its residents.
This piece promotes love for the neighbourhood and celebrates all communities living together in peace. She hopes that it brightens the days of those who pass by and make them feel at home. During the process, Natalie really appreciated all the people who took the time to stop by and cheer her on. They said that it meant so much to them to have such joyful artwork in their neighbourhood. Many expressed gratitude for this piece that helps to spread good vibes and love through colour and positivity.
My Rumi inspiration!
www.tiktok.com/@melindabaynsl/video/7559556385726418232?i...
"About KPop Demon Hunters:
When they aren't selling out stadiums, KPop superstars Rumi, Mira and Zoey use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat. Together, they must face their biggest enemy yet – an irresistible rival boy band of demons in disguise."
“Golden”
Excerpt from webapp.driftscape.com/map/1396264e-f2a2-11eb-8000-bc1c5a8...:
Weston: Then and Now Mural
1901 Weston Road
"Weston: Then and Now" is a three-wall mural series. The mural was designed by artists Jim Bravo, Niel Yee, Rowena Kizito and Bryan Bermudez.
The murals depict the same intersection on Weston Road on each wall at different periods of time. The first wall depicts school children in the 1920’s, the second focusing on depiction of older children in the mid-20th century and the last wall in the series showing young adults of the present day.
Excerpt from webapp.driftscape.com/map/c7e357fe-ef7b-11eb-8000-bc1c5a8...:
Peru's practice explores his imagination through different mediums, embodying both his traditional and digital art background and his decades of painting and travelling. His mural captures the geometric complexity of his text-inspired work, done mostly as freehanded freestyles with clean angles and curves that are saturated by a complimenting colour palette. He explains that his colour palette is readable and reminiscent of the ones we were given as children, when we had almost no responsibilities and life was much simpler.
Excerpt from webapp.driftscape.com/map/e3671b1e-ef7b-11eb-8000-bc1c5a8...:
Originally from Florida, XRAY’s hometown is a place that has a significant influence on his choice of colour palette, as seen in this energetic and playful mural. His work blends a unique variety of professional experience and cultural inspirations, from the skateboarding and hip-hop scene to his commercial projects for Disney and Universal Studios. The elements of his paintings reference a wide range of motivations including military insignia, nature, tattoos, tarot cards, secret society symbols, Japanese art, propaganda, video games, science, and action movies.
Excerpt from webapp.driftscape.com/map/6e23835e-eaaa-11eb-8000-bc1c5a8...:
Lesya Urainka Monument by Mykailo Chereshniovsky, High Park: This statue at the east of Colborne Lodge Drive honours celebrated Ukrainian poet and playwright, Lesya Ukrainka. It was erected in the fall of 1975, the International Year of the Woman.
Lesya Ukrainka was born in Ukraine in 1871 at a time when Ukraine was part of the Russian Empire. She began to write poetry in her native language at an early age. Publishing in Ukrainian was prohibited so the young Larysa Petrivna Kosach-Kvitka adopted the pseudonym of Lesya Ukrainka. Her work is often focused on the demand for human rights and national freedom, which made the use of a pseudonym doubly important to protect her safety. She died of tuberculosis at the age of 42.
She is portrayed holding flowers, her clothes draped in a classical style. Engraved on the plinth is the quote "Whoever liberates themselves shall be free. Whoever is liberated by others captive shall remain". The sculptor, Mykailo Chereshniovsky, was born in Ukraine and emigrated to New York after the Second World War. He began as a wood carver before working in bronze and completed several busts and monuments for the Ukrainian community across North America.
Excerpt from webapp.driftscape.com/map/b951abee-e9ec-11eb-8000-bc1c5a8...:
A Happy Place (Bell Box)
Moynes and The Queensway
This colourful mural was painted on a square Bell Box with mostly teal for the background. On the left, there is a pink girl sitting outside in her neighbourhood, admiring the natural environment through the window. You can also see a few houses and green trees, and a big pink dove-like bird flying overhead.
Yasaman Mehrsa is a Toronto based studio and street artist. Her art is inspired by the connection between humans and nature, storytelling, symbols, and fantasy. She hopes to spread love and peace with the language of art. Yasaman wanted to communicate that Neighbourhood Love means to love yourself, your family, your home, your neighbours, and your neighbourhood.
When designing this piece, she thought about the beauty and peace that one can find in their surroundings. She imagined herself sitting in an outdoor space, admiring nature. She hopes the viewers can imagine themselves being the figure in her painting and feel peace, love and happiness from within. Her goal is to inspire those who see her work to look more carefully at the world around them and discover beauty in everything. As a person as well as artist, she truly loves colours and being colourful. She believes that art is one of the purest forms of communication and that it can connect people on different levels and in diverse ways.
Excerpt from webapp.driftscape.com/map/d37bd77e-db0f-11eb-8000-bc1c5a8...:
Something Happens Here
Dufferin Station
There are thirty-one large pixelated images integrated into the architecture of Dufferin Station; you'll find several on each of the Eastbound and Westbound platforms and many more upstairs in the concourse. The large coloured images, composed of 24,000 tiles, have been created from photographs of the area, and so highly pixelated as to be virtually unrecognizable. Each image tells a story of something that happened here, or nearby. Clues to these stories are embedded within the pixelated images in the form of over one hundred metal tiles that the artists refer to as “Memorial Pixels”. These memorial pixels display text or images of events and places in and around the station – a spilled coffee cup, a biplane, a reference to a furniture store, a broken comb, a story about Mogadishu. The texts are derived from poems, interviews and other writings about the experiences of local community members. There are enough of these little clues that even someone who passes through this station on their daily commute has the opportunity to keep discovering new aspects of this work.
The artists, Karen Shanski and Eduardo Aquino of design firm spmb, describe the project as “a collection of images of the human experiences, environments, and urbanscapes from the neighbourhood, bringing a sense of place to the interior of the station and creating a distinctive experience for TTC customers”. The whole is a kind of interior landscape which celebrates the community life of Bloordale Village above ground.
Excerpt from webapp.driftscape.com/map/d8c546de-e9ec-11eb-8000-bc1c5a8...:
By the water’s edge (Garage Door)
136 Milton St.
Here you see a single car garage door transformed into a shimmering lake surrounded by rocky shores and tall pine trees. The sky above is pale blue with billowing white clouds. In the distance, the land rises up covered in evergreens and you can see it reflected in the ripples of the water. In the foreground you can see the rocky shore as if you could step onto it, right where the pink and green moss is growing on the rock face. You can almost feel a soft breeze while looking out across the water.
This mural was inspired by the family who lives in the house, their love for the outdoors and their frequent trips to the lake, and Julii McMillan’s personal connection to water. Water has a calming effect. It is nourishing. We all share a need for it. Water is life. Julii wanted to create a mural that felt like a window into nature, to inspire the family and their neighbours to take a deep breath upon seeing it. When we come close to a body of water our breath often changes, it grows slow and long and deep. Julii hopes to evoke this feeling in the viewer while opening up space to just be.
Describing her experience, Julii reflected that, “Working on this project, as an artist and as a facilitator was deeply enriching. Being witness to a neighbourhood taking a stand, seeing art as a tool for demonstration, seeing my fellow artists volunteering their time and skills for a good cause, and feeling the support that came from all around was invaluable. Action is powerful and inspiring. Seeing adults setting this example for their children, for each other, still brings a smile to my face. This event changed us all and showed us what is possible when we come together. This experience brings to mind one of my favorite quotes by Anais Nin, ‘A friend represents a world in us, a world not born until they arrive, and it is only by this meeting that a new world is born’’. This project gave birth to a new part of myself and I hope in experiencing the murals first hand you too have been changed for the better, to be the change you want to see in the world.”
Excerpt from webapp.driftscape.com/map/387cddbe-d974-11eb-8000-bc1c5a8...:
From Here to Now
Bayview Station
Throughout Bayview station you’ll find twenty-four pieces. Start exploring and look for black swirls on the floors and walls. At first you might not recognize what they are, but keep moving, when you view these works from the right perspective you’ll have that A-Ha moment! You’ll often see a block of colour near the black illustration, shift your perspective until it starts to look like a square to view the piece from the right angle. Keep your eye out for a needle and spool, a tea cup, a cut apple, slices of lemon, a salt shaker. There are more treasures in store up the stairs.
The visual distortion, known as anamorphosis, shifts with the viewer’s position. The image seems distorted when seen from a frontal position but when viewed from one side or from an angle it resumes normal proportions. For a real treat view the images through the lens of your smartphone: they’ll appear as if in augmented reality – a ladder leaning against the wall, a stepladder, a pocket watch floating in the air, a dog waiting at the top of the stairs for its owner to come home.
The work heightens our awareness about movement and travel through these pedestrian spaces and infuses our experience with a sense of play. The pieces are made from waterjet-cut glazed ceramic tiles laid in the walls and floors, and based on free-hand black line drawings. The artist, Panya Clark Espinal, is a Toronto-based multi-media installation artist who has produced many public art commissions. Her pixelated interpretation of the famous Jack Pine painting by Tom Thomson is installed at Barberry Place, just a block from this station.
Excerpt from webapp.driftscape.com/map/f0ace86e-f2a8-11eb-8000-bc1c5a8...:
Welcome to Mount Dennis
1156 Weston Rd.
This mural was painted in 2014 by lead artist Emanuel Ciobanica with the help of four local youth whose names are given under the window to the right side of the mural’s center. It was funded by Street Art Toronto and replaced an older mural that had started to fall apart.
The mural depicts trees in summer surrounded by blossoming flowers in all colours, with water cutting through the middle of the scene. The water was intended to symbolize growth and reference the nearby Humber River. Among the lilypads is a frog if you look closely.
Several children are playing throughout the mural. Two are climbing among the branches of the tree on the far left, while two sit on the bridge over the water in the center of the mural. On the right side of the water there is a girl hanging upside down from a tree and another standing holding a rabbit. These children were intended to represent the diversity of the Weston-Mount Dennis community and also a symbol of its future.
The colourful flowers and deep greens of the foliage keep this corner looking bright even in winter. I really like how the actual trees in front of the mural and the painted trees behind seem to become one scene and because the real tree branches block different parts of the mural, you end up having to step around the trees to see the different parts of the mural and that allows for all these little discoveries of the details that you might not appreciate as much if you took in the whole mural at once.