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In the London Arts Council’s (LAC) ongoing efforts towards actionable and sustainable reconciliation, we took the virtual concept for the IndigenousLondonArts.ca  (ILA) website, and brought it into reality, through the creation of an Indigenous London Arts Programs department led by LAC’s Administrator, Indigenous Programs, who works in consultation with Indigenous partners and community members. We  acknowledge the need for this department to be distinct, and sovereign in its development, so with the help of Indigenous Designer, Katie Wilhelm, a separate logo was created to represent Indigenous London Arts, as distinct from LAC’s regular programming, while still falling under the umbrella of London Arts Council. Taking inspiration from the Indigenous London Arts website, Katie was able to create this beautiful logo, using the colours and references mentioned in our virtual land acknowledgment . You will see the same colours repeated throughout the ILA website, as they are reminiscent of the colours seen in nature -- water, dirt, sun, air, trees, grass, -- all elements that are significant to Indigenous Peoples as the original caretakers of this land, and a part of their creation stories. As ILA is a branch of the London Arts Council, the splaying of the petals and dot in the middle nod to LAC’s logo star-shaped design. We’ve also included the City of London’s signature green which represents our relationship with the City, as we work together with their commitment to Truth & Reconciliation in mind.

The Gallery In response to demand from local artists for exhibition space and to promote and celebrate our talented local artists, the London Arts Council and the City of London Culture Services have collaborated with RBC Place London to pilot The Gallery program at RBC Place London as part of our London Arts Live (LAL) program offerings. The purpose of The Gallery is to promote the work of artists and creators residing in London and surrounding First Nations to display original artworks for exhibition, with sales opportunities, on highly prominent and specially designated wall space within this municipally owned building. For the third exhibition, The Gallery featured artworks created by Johnnene Maddison , a local visual artist. Johnnene earned a Bachelor of Arts from the Pratt Institute in New York City and soon after worked in Los Angeles for an animation studio, while also making posters for Bell Telephone Company. She received a Master of Arts from the University of Michigan. After moving to Ontario, Johnnene attended Brescia College, where she earned a teaching certificate. Johnnene has been a professional exhibiting artist in Canada and the U.S. for over 40 years. She is the recipient of the Canadian National Award from CARFAC, 2014. She has worked in oils, watercolours, and textile art, and is currently working in acrylic. Her recent work is about her thoughts and her imagination. She draws her most recent thoughts on canvas and then paints using bright, original colours. These paintings are intensely personal and immediate. An Interview with Johnnene Maddison Just A Thought by Johnnene Maddison (on exhibition May 2024 – August 2024) Q : Tell us the story behind the Just A Thought  exhibition. How did it start? What was it inspired by? A : My paintings are about things that I happen to be thinking at the time. They're personal, but I find they appeal to people because every person has thoughts going through their heads at all times - even if you don't want them to. I'll get a thought and I immediately start drawing on the canvas. Q:  Have your thoughts always been the inspiration behind your artwork? A:  I don’t think so. Since I’ve started working with acrylic. Before this I was working with water colour for many years and I was doing textile art, and I had a subject. With the abstract, I didn’t have a subject so I thought “well, whatever pops into my mind I’m just going to do it.” When I’m finished, sometimes it looks exactly like what popped into my mind and other times it doesn’t resemble it at all. People ask “why would you call it that? It doesn’t look like that” and I say “well, that’s what was on my mind.” I can’t explain why it looks the way it does. Q : Right. It’s your personal thought, and maybe sometimes people catch it right away when they look at it and it resonates, but it won’t resonate with everyone all the time. A : Yeah, and I never remember the titles. A week later someone might ask “oh, what do you call that one?” and I have to look on the back to figure it out. Q : What else inspires you as an artist? A : Colour. I’m really in love with colour. But also, everything! I walk outside and I’m inspired by everything – the clouds, the sky, the grass, everything is beautiful. Q : So a lot of nature? A : Yes, but also people. People just talking to me. They’ll say something that reminds me of something, and then something else, and then something else, and then that grows into a thought which grows into a painting. Q : The process you’re describing is very similar to how I approach writing. I’m curious if you’ve experimented with other forms of art before. Have you done any creative writing? A : I’m embarrassed to say I have. I’ve written a song once, and poetry that’s not very good, and I don’t show it to anybody! I like to write though, and I like to write letters to people and have them go through the mail. Q : Yes, I love that! Receiving a handwritten letter is such a rare thing now, it’s so special! A : Yeah! Every time I get a letter, I don’t open it right away. I make a cup of tea and I savour the experience. Q:  I love that. I have all these postcards that were my grandparents and they’re just everyday correspondence but it’s amazing to think of the entire process of picking out a postcard, taking the time to write a message and then going to the mailbox to send it. It's so personalized. A: Exactly. I have a letter that my father wrote to my mother while he was in the service in Italy at the time – that’s where he was killed. My mother was pregnant with me at the time, and he wrote “I want you to call her Emily,” and I wish he got his way because this name has given me so much trouble. Emily is an easy name. Q:  Oh wow. Your name is very different than Emily and it’s a good name, I’ve never heard of anyone else with the name Johnnene before! A:  No, my father’s name was John so my mother but a “nene” on the end of it. Q:  Oh I see! That’s really nice. A:  People have a hard time pronouncing it. Sometimes I get the pronunciation “Joe-hini.” Q : Hahah that must be your alter ego. A:  I guess so! Q:  What does your creative process look like? How do you approach starting a painting? A : I gesso the canvas first and when that’s dry, I put the painting on the floor. I have a dowel that’s about 36 inches long and I tape a brush to the end of it. I have a jar of paint on the floor. I think about my thought and then I start to draw with the brush. At first, I start with a line drawing on the canvas, but it’s done with the brush and not a pencil. When that dries, I start to paint. I start with the biggest shapes and work down from there. As I’m going along, I adjust the depth of the colours. That’s the wonderful thing about abstract art, you have no idea how it’s going to turn out. Q : Is it like a stream of consciousness process where you’re just getting out what’s in your head without planning anything? A : Yeah, but there is stopping and starting over days. Some might take a few days, while smaller paintings I can do in a day. Q : Oh, I see. What has your experience been as an artist in London? What gaps do you see that currently exist when it comes to supporting the Arts? A: Well, supporting female artists is different than supporting male artists. There are certain galleries that I’ve noticed seem to prefer male artists. I’ve been at these galleries during openings, and I see the male artists being introduced to people, while the female artists are standing there not being introduced to anyone. When you look at public art gallery collections, if you get a list of everything they own, it is very heavily on the male side. I do see more women getting shows, as when I was young it was nearly impossible for a woman to get a solo show. I was part of many group shows, but it was much, much harder to get a solo show as a woman. Q : That was your experience when you were attending the Pratt Institute? A: Oh yeah. When I was in university in art college, there were many more art students that were male than female. That seems to be changing now. I wonder if it starts with the family – back in those days if there were families with many children, it seemed that the male was the one to go on to academic studies versus the females. Thank goodness that’s changing. Q : What kind of support do you think is needed? A: Well, one thing is that the newspaper needs to report on the arts. Many newspapers have 2-3 pages on sports, but nothing on arts. Once and a while you’ll read about large commercial exhibitions like Banksy, but nothing on local arts. I know artists and galleries often send in exhibition information to newspapers, yet nothing is published. Q : That’s a great point. Promotion goes a long way. Where can people go to see more of your work? A : I always have work showing at The Westland Gallery. That’s really the main place, aside from my home studio. Q:   That’s great that Westland Gallery has been a good home for your work. How do you feel about having your work on display at RBC Place London? A:  I think any opportunity is a good one when it comes to getting your art out there. And it will be on display here until August which is a good chunk of time. Q:  I hope lots of people will come downtown to check out your exhibition. Your work is great and thank you for sharing the process behind it with me! A:  Thank you! View the Just A Thought Exhibition at RBC Place London on the following dates: Wednesday July 24, 2024    (11:00am – 2:00pm Monday July 29, 2024 (9:00am – 4:00pm) Wednesday August 7, 2024     (9:00am – 2:00pm) Wednesday August 24, 2024   (11:00am – 2:00pm) Tuesday August 27, 2024         (8:00am – 2:00pm) Friday August 30, 2024             (8:00am – 10:00am) ** enter via the main doors on York St.** The objectives of the Gallery program are: to create a beautiful, unique, and cultured atmosphere; provide compelling experiences for local, national, and international visitors; educate the public by presenting a series of diverse artworks created by local professional artists; and provide professional opportunities for local artists, including increased promotion, sales, and career enhancement. For more information about this project or inquiries regarding purchasing artworks, please contact the London Arts Council at info@londonarts.ca

London's  first artistically interpreted Wampum Belt, Way of Life – Bimaadziwin ( pronunciation ) – Tsi' niyóht tsi tyúnhe' ( pronunciation ) by Nancy Deleary   was installed on the interior fireplace at East Lions Community Centre (1731 Churchill Ave, London On), and unveiled on June 27, 2024. ABOUT THE MURAL PROJECT AT EAST LIONS COMMUNITY CENTRE To celebrate, honour, and share Indigenous culture and history, the London Arts Council  and the City of London Culture Services  ( Neighbourhood and Community-Wide Services ),   contracted Nancy Deleary , an established visual artist from the Chippewas of the Thames First Nation   for this project. In honouring the Two Row Wampum approach, Nancy was selected through the Indigenous Assessment Panel process to create the Mural Project at East Lions Community Centre ,   which is located on the interior fireplace at the community centre.   Deleary’s artistic work for this project is based on the Dish with One Spoon Wampum. As a law used by Indigenous peoples, this Wampum holds significant meaning. This project is the first artistically interpreted Wampum Belt project in London, which highlights the significant meaning of the Agreement, visually demonstrating our commitment to the Indigenous communities and the City of London’s Truth and Reconciliation Action Plan, thus encouraging Londoners to reflect on and respect the Agreement within their daily lives. ABOUT THE PUBLIC ART AND MONUMENT PROGRAM   The City of London’s Public Art and Monument Program facilitates the creation of public art in London, which bolsters civic pride, provides focal points for community celebration, creates meaningful employment for artists, and attracts tourism and investment. This mural was created by the artist through the City’s Public Art and Monument Program, managed by the City’s Culture Services team and administered by the London Arts Council and Indigenous London Arts. It is one of the first artworks to make up the City of London’s Permanent Indigenous Artwork Collection. ABOUT THE MURAL: Way of Life – Bimaadziwin – Tsi' niyóht tsi tyúnhe' “The original makers of this land created objects out of necessity. Upon their objects they decorated images to relay messages that gave reverence to the relationships they maintained.   Colonization caused a great disruption in the life processes of the original peoples. They survived by keeping their ways and worldview hidden in the things they owned, bought, and made.   At first, anything with a native pattern was kept and displayed. In time, the people began making their own objects with representations of their beliefs and ceremonial life.   In this moment in time, the people of this land are sharing their ways so that all may be informed of a way of life that has existed on this land for thousands of years.   The Dish with One Spoon Wampum represents a significant law that the people of this territory of Southwestern Ontario uphold to this day. Learn about this Agreement by listening to Knowledge Holders and Chiefs of the Anishinaabe and Haudenosaunee.” –  Nancy Deleary, 2024 ABOUT THE ARTIST Nancy Deleary  has been an artist all her life, influenced by the artists in her family growing up. She was recognized early by her community to have a gift to draw and design. This led her to a lifetime of researching her identity through ancestral works of art to be able to translate them into contemporary images.For Nancy, art is a communicative tool to transmit ideas and emotion. Her life has been a long journey of learning who she is as an Indigenous person of this land, and through her art she has the ability to share that. Through Nancy's interactions with viewers of her work, she learned that they can see and feel what she is addressing, and they come away learning something new about First Nations people.   June 27, 2024 Mural Unveiling Event photos:

The first Songlines Project artwork, Firekeeper  by Mike Cywink, was installed at East Lions Community Centre (1731 Churchill Ave, London On) on the exterior windows near the main entrance, and unveiled on June 27, 2024. ABOUT THE SONGLINES PROJECT In January 2023 the City of London participated with the Huron University Management and Organizational Studies Class on a City Studio Project to study what London could learn from other UNESCO designated cities about creative collaborations that could benefit London.  The “Songlines” proposed initiative developed by a group of students from this class, based upon a previous UNESCO program developed in Auckland New Zealand, won the City Studio community of choice award at the end of term Hubbub Event held at the Pillar Nonprofit Network in April 2023.  The City of London Culture Services  and the London Arts Council , in partnership with the London Music Office  and the Rotary Club of London , have come together to create the “ Songlines Project .” This project will showcase the artwork of London’s local visual artists that is accompanied by a “Songlines” QR Code that links to the London Music Office’s Spotify channel and the diverse music of talented local musicians at various stages of their music careers.In alignment with City of London 2023 – 2027 Strategic Plan, the “Songlines” project has a strategic focus on Economic Growth, Culture, and Prosperity. It hopes to support the outcomes of London as a destination of choice and encourage the growth of local artistic and musical talent. “Songlines” will contribute to London’s UNESCO City of Music designation. Songlines will beautify London’s streetscapes, communities, and neighbourhoods and strengthen London’s brand as an artistic and creative hub. Emerging and mid-career musicians and visual artists will gain more exposure to establish their brand that will further their careers to be export ready for more regional and international opportunities. This will in turn contribute more to the local cultural economy. ABOUT THE PUBLIC ART AND MONUMENT PROGRAM   The City of London’s Public Art and Monument Program facilitates the creation of public art in London, which bolsters civic pride, provides focal points for community celebration, creates meaningful employment for artists, and attracts tourism and investment. This mural was created by the artist through the City’s Public Art and Monument Program, managed by the City’s Culture Services team and administered by the London Arts Council and Indigenous London Arts, with support by the Rotary Club of London, and presented in partnership with the London Music Office. It is one of the first artworks to make up the City of London’s Permanent Indigenous Artwork Collection. ABOUT THE MURAL:  FIREKEEPER “This design is inspired by the story of the eagle who looks over the sacred fire and carries all the responsibilities that go along with being the firekeeper.   He shares our teachings with the people, and the birds serve as messengers carrying the teachings out to the world. Whenever we have fire, we must have water - balance is an important part of creation and our teachings. Turtle Island, the muskrat in our creation story, and one of our leadership clans, the fish, are all featured in this design. All of creation is represented - the ones who fly, the four-legged, the insects, and the ones who swim .   The image with the moon is a reminder of our responsibility to one another as people. In a community, we need to lift each other up and be there for each other. We all must help at certain points in our life, so we shouldn’t be afraid to ask for it when we need it." –  Mike Cywink, 2024 ABOUT THE ARTIST Michael Cywink  grew up in Northern Ontario, in the community of Whitefish River, First Nation. He has been in the London area for more than a decade now, working with Indigenous youth throughout the city.   He is a muralist, artist, and graphic designer with multiple projects and murals throughout the London area. Michael continues to create art and support Indigenous youth, with many projects and murals on the horizon. “As an artist, I consider myself a storyteller. I, of course do not speak for every Indigenous person and my teachings are ones that have been passed along on my path so far. And as we embark on this journey, I am telling a story that is not my own.   I listen, I learn, and I try to tell other people’s stories through my art. The original ways of passing down teachings and stories is through storytelling; it is an important piece of our traditional ways of being.”    – Mike Cywink   June 27, 2024 Mural Unveiling Event photos: — FIREKEEPER   MURAL ⁠— PANEL 1 PANEL 2 PANEL 3 PANEL 4 PANEL 5 PANEL 6 PANEL 7

June is National Indigenous History Month. This month is a great opportunity to learn more about the First Nations communities who are the original caretakers of the land we live on, as well as Canada’s commitment to truth and reconciliation reflected in the Truth and Reconciliation Commission of Canada’s 94 Calls to Action. These calls were created in collaboration with survivors and their families to acknowledge the impact of Canada’s legacy of residential schools and serve as a guide in the process of reconciliation. Consider reading some of these resources for more information: Truth and Reconciliation Commission of Canada: 94 Calls to Action Ally Toolkit Atlohsa: Educational Resources Biindigen: Indigenous Learning Circle: Indigenous History Month Challenge

in partnership with Expressions of Interest (EOI) The London Arts Council (LAC) in partnership with LBMX Place invites bands residing in London, Ontario and surrounding First Nations (the Chippewas of the Thames First Nation, the Oneida Nation of the Thames, and the Munsee-Delaware Nation) to apply for a paid opportunity to participate in the 2024 LBMX Place Musicians Mentorship Program. Applications for this opportunity are now closed. Program Description 2024 LBMX Place Musicians Mentorship Program provides bands residing in London, Ontario and surrounding First Nations (the Chippewas of the Thames First Nation, the Oneida Nation of the Thames, and the Munsee-Delaware Nation) with an opportunity to grow, perform, and connect within our vibrant music sector and throughout our broad community. This year's LBMX Place Musicians Mentorship Program is focused on London's bands in recognition of their contribution and the unique challenges they faced both during and after the pandemic due to a significant lack of opportunities compared to solo and duo musicians. Through resume-building paid performance opportunities, professional development opportunities, and mentorship/coaching sessions, the program aims to open the door for London bands to gain more performance opportunities in London, Ontario, and across Canada. Program Details The 2024 LBMX Place Musicians Mentorship Program will provide the following opportunities for London's bands: meaningful paid performance opportunities. resume and profile-building opportunities through the Extravabandza concert with a headline band. professional development opportunities through music sector-specific workshops. mentorship and coaching sessions with a senior musician. Each mentee band will perform at two (2) 2-hour Saturday evening concerts featuring each band’s music. The concerts will take place in the summer, outside on Dundas Place (267 Dundas Street), the entrance to the downtown core area. A sound tech, audio equipment and staging will be provided for each concert. The finale of the LBMX Place Musician Mentorship Program will culminate in each mentee band taking the stage at an upcoming block party in London called "Extravabandza," where they will serve as supporting acts for the headline band “New Friends.” This exciting opportunity is geared towards enhancing the resume of each band, opening doors to potential future supporting act opportunities. All mentee band members will also be provided with meaningful professional development opportunities through music sector specific workshops. Each session will be facilitated by relevant industry professionals to support further development. Topics include: Music industry and Law (copyright, song writing agreements, performance royalties, etc.) Finance Management (taxes) Grant Proposal Development Marketing and Communications ​ Timeline (May – December 2023) Payment (per Band) Band Qualifications must be 18 years of age or older. the band must reside in London, Ontario or surrounding First Nations (the Chippewas of the Thames First Nation, the Oneida Nation of the Thames, and the Munsee-Delaware Nation). a minimum of 2 years of professional practice as a musician and receives compensations for professional work and opportunities in the music sector. has developed skills through training or practice and actively practices his/her/their work. has keen interest in developing new skills and learning experiences. is passionate, adaptable, and flexible. Application Information **You MUST read the full application information for this opportunity prior to filling out the online application.** Online Submission Artists/creators wishing to be considered must complete all application requirements. Please complete all required fields of the online application form and submit the required application documents. Incomplete and/or late applications will not be accepted. Applications submitted through other means, such as fax, mail, and email will not be accepted. It is the applicant’s responsibility to ensure the application is submitted by the deadline. London was recognized as Canada's first UNESCO City of Music on November 8, 2021. The London Arts Council (LAC) continues to support the broader artistic community through diverse programming in collaboration with public, private, and community partners. As a partner organization, LAC participates in the planning and implementation of the UNESCO City of Music Designation Plan connected with the London Music Strategy and London's Cultural Prosperity Plan. For any questions about this project please contact info@londonarts.ca For any Call to Artists updates please check the website at www.londonarts.ca

#NoMoreStolenSisters #MMIWG2S In an on-going effort to uplift and amplify Indigenous causes, the London Arts Council (LAC), in partnership with the City of London Culture Services, have hung red dresses in the windows of the J. Allyn Taylor building. The red dresses are hung to acknowledge the many missing and murdered Indigenous women, girls, and 2SLGBTQQIA+ peoples across Turtle Island, and the on-going calls for support. If you would like to read more about MMIWG2S, please feel free to check out the links below: https://www.jaimeblackartist.com/exhibitions/ https://amnesty.ca/activism-guide/red-dress-day-2024-take-action-on-may-5/ https://chiefs-of-ontario.org/ontario-regional-chief-glen-hare-marks-red-dress-day-the-national-day-of-awareness-for-missing-and-murdered-indigenous-women-girls-two-spirit-and-gender-diverse-people-mmiwg2s-and-echoes-calls-fo/

The London Arts Council (LAC) invites artist-educators residing in London, Ontario, surrounding First Nations (the Chippewas of the Thames First Nation, the Oneida Nation of the Thames, and the Munsee-Delaware Nation) to apply for a paid opportunity to participate in LAC’s community-focused arts program: Creative Aging and Belonging – Arts for Seniors and Intergenerational Participants The selected Artist-Educators will create and deliver senior focused intergenerational creative workshops. Application submissions are now closed. Program Overview: Creative Aging and Belonging – Arts for Seniors and Intergenerational Participants is a community-based arts program that promotes mental health, physical wellness and intergenerational connectivity between older adults and families, children, youth and adults. Each selected Artist-Educator will develop a creative workshop and deliver at five (5) different locations of the London Public Libraries from May 1, 2024 - February 15, 2025. Artist-Educators will be paid $450 for workshop development, orientation and training, material preparation, police check/vulnerable sector check, knowledge sharing, and mentorship. Artist-Educators will be paid $600 to set up, deliver, and clean up their 1.5-hour workshop 5 times, each at a different location of the London Public Libraries. Pre-approved art supply costs and instrument rental costs will be reimbursed by the LAC. Interested applicants must be comfortable working with older adults, families, children, youth, and adults. Please click below to read the application package for more information: This progam is supported by Employment and Social Development Canada. Online Submission Artist-educators wishing to be considered MUST read the application package prior to filling out the online application form and complete all application requirements. Please complete all required fields of the online application form and submit the required application documents. Incomplete and/or late applications will not be accepted. Applications submitted through other means, such as fax, mail, and email will not be accepted. It is the applicant’s responsibility to ensure the application is submitted by the deadline - Monday, April 29, 2024 at 4:00 pm. For any questions regarding this project, including requests for support due to accessibility barriers, please email: info@londonarts.ca For any Call to Artists updates please check the website at www.londonarts.ca

Illustration of Waldo by Eric Cator Story by Michelle Arnett WALDO Part 1: Waldo’s Roots I write to you today, a work of art, having come from mere humble beginnings—I can hardly believe it myself. An incredible story of strife, where I, Waldo, emerge a canvas, mural, and dare I say, a muse? Ahhh, such a beautiful word, “muse,” derived from the Greek “mousa”—language excites me more and more each day; and how easily I’ve mastered such a complex system. The many incredible obstacles I’ve overcome are the reason why I am able to stand so proudly, and do not shy away from the noble designation that is “muse,” despite all of its aesthetic responsibilities, no less inspirational or artistically embodied than a child of Zeus. Sit down and relax, dear reader. Pour yourself a cup of tea, as I relay to you the amazing story of my transformation from organic material, as inconsequential as dirt, to the heavenly body that appears before you today-- I came to be in this world through some form of ignoble birth--whether it sprang from a negative karmic source of a past life, punished for the wrongdoings of my forebears or otherwise, remains unclear. What I do know for certain is that I entered this world a coarse, scaly growth, rooted in soil, bound to the waste of my fallen ancestors. While those around me celebrated this simple existence, I yearned for something greater. I looked on in awe at the complex machinery that tore my kin from the earth, and longed for my turn to be uprooted, and experience the freedom akin to that undoubtedly felt by the genius consciousness behind those machines of liberation. And finally, my time arrived… Part 2: Spruced Up I implore you to consider the aphorism “there can exist no beauty without pain,” as I detail the next leg of my journey, to avoid any feelings of pity that could distract from my unimaginable triumph yet to come. I eventually arrived at a workshop where I was run through a saw, stripped and sanded, and drilled with nails. All the while I was poked and prodded, I knew that I was simply facing the trials, and amassing the great degree of character that those destined for greatness face when travelling their path, encountering seemingly insurmountable struggle. In the capable hands of Lori Joseph and her colleagues at the London Community Woodshop, I was able to shed my coarse skin and chains of roots, and was made mobile, capable of confidently traversing the cobblestone environment of Dundas Place, where I would next find myself. Part 3: Growing in Community Just as every protagonist is blessed with many transient guides and mentors along their journey, I too, was forced to bid adieu to my creators, eternally grateful though I am. I ventured on to meet Shane and Kim, the humble masters who truly animated my existence; brought the gift of colour to my cheeks and music to my soul. We would venture out onto the street for hours at a time, with the brisk fall winds persistently nipping at us, and testing our dedication. But I would gaze into their warm and determined, yet joyful, faces as they covered me with intentional, vibrant strokes of their brushes; acknowledging that I had never felt so alive before. This feeling, I could tell, was growing inside of them too. Just then, two inquisitive strangers emerged, asking for information about me; “This is the first mural I have ever painted!” exclaimed Kim, “I didn’t think I could do it, but I did and I’m actually really happy with how it turned out.” I couldn’t believe what I was hearing…her first mural?! Knock on me, dear reader… I had flourished in the hands of a prodigy. As she went on to describe me as a “break through,” I swear I felt a heart forming deep in the density of my grain. I wanted to make sure to remember this feeling, so looked around to note the exact time of day, shade of the sky, smell in the air, and then noticed a crowd forming--curious onlookers of varying sizes, were admiring me. And there were three others who looked just like me in form, but with their own uniquely alluring designs. Shane and Kim were glowing as people passed by and inquired about their work, “it’s taken us out of our shell, out of our studio, right out into the public realm, where we’ve been able to work close to, and learn from, different artists while connecting with new audiences,” I heard Shane remark. And just like him, I realized that I had begun to blossom in new soil--the rich concrete soil of Dundas Place, yet was no longer constrained, among my newfound and admiring public audience.

photos taken by TSW 2023 Scavenger Hunt participants: 1ArtsyGoose, 123-Goosechase, AaaronSaam, Cathierose, and Unagi

photos taken by TSW 2023 Scavenger Hunt participants: 1ArtsyGoose, 123-Goosechase, Cathierose, Art3mis, poserfish, SnapTheWrap, and Unagi

photos taken by TSW 2023 Scavenger Hunt participants: Cathierose, AaaronSaam, Chery_Gilmour, and Unagi