Inspired from the artist talk by Tiffany Shaw, I found the idea of the relation between the self and the environment very inspiring. In the space, orange and yellow colour represents the fresh and vibrant start of life, trying to achieve the balance by letting the past go, and the green leaves/nature could be seen as an opportunity to stretch the boundaries and an attempt to remain happy in every phase of life. The virtue of space is developed in discrete small parallel planes as there is a need to search the forms, hence indicates the present condition. An attempt to bring together the three ideas of past, present and future without a unified perspective system, showcasing the conceptual form of art.

“Tying the Knot” celebrates the idea of being married to agriculture and its growth through time. The peaches are represented as the past, present and future while the hands remind us that moving forward, we will become more inclusive as a community. Growing together means keeping traditions and redirecting growth.

Ji Hyang Ryu painted the famous Hopewell Rocks in New Brunswick with a Korean lady with cranes in mountains in the style of Korean traditional paintings. Through her art, she aims to communicate her experiences and emotions as an immigrant and explore themes of cultural differences, racial discrimination, and the beauty of different cultures. She hopes that her paintings can act as a bridge, helping people around the world to understand and appreciate each other’s cultures. she believes that by sharing our unique perspectives and experiences, we can work towards creating a more harmonious and inclusive society.

“Reflections of Burlington: A Timeless Tribute to its Cultural Heritage” showcases the artist’s unique perspective on the city and its surroundings. Through the use of vivid colors and minimalist style, the artwork captures the essence of Burlington and its community. The piece invites the viewer to reflect on the beauty and diversity of the city, and encourages a deeper appreciation for its hidden gems. The artwork is a testament to the artist’s passion for capturing the essence of the places and communities that inspire them.

This piece symbolizes the cultural and agricultural exchanges made between the Indigenous peoples occupying the area at the time of settler arrival. It expresses the world through an Anishinaabe dream lens where the exchange was an equal and fair one in giving different knowledge on plants and medicines in exchange for new agricultural practices. This piece imagines a world where development was not detrimental to the Indigenous groups occupying Turtle Island and where agricultural practices were not used as assimilation tactics. It also depicts the importance of gifts from an Anishinaabe worldview where gifting is a legal order and has significant meaning and responsibilities attached.

In response to the agricultural prosperity of early farmers in the Burlington area due to the area’s fertile soil and moderate temperatures, “Roots and Bloom” depicts a woman surrounded by lush green leaves and free-flowing flowers, symbolizing the location’s connection to the land and history of agricultural abundance. The subject of the mural is a personification of spring and earth as mother and nurturer.

Burlington historically attracted farmers due to its fertile soil and moderate temperatures. It is where the first Canadian peaches were grown. Peaches are often symbolic of longevity and prosperity. Peaches and Prosperity pays homage to the diverse farmers in Burlington who worked to sustain the lives of Canadians. Using vivid colors, this combines the symbolism of peaches with a call for sustainability and diversity in agricultural development.

This artwork is a figurative and abstract conversation between figures and fauna to depict the rich agricultural history of Burlington.

Referring to the ‘food of the poor’ in Arabic, this piece illustrates the Dish with One Spoon Wampum Agreement that McMaster University honours. It calls on artists to see the public space as a dish that we all get to share ‘one spoon’ with and in turn, serve back to the community that we come from. The piece shows a ‘dasterkhaan’ which is a fabric on which food is served in the communities and the fruits painted in this piece are those that are mentioned in the Quran. Merging the history and culture of the land and the artist’s own upbringing, where the ritual of one dish ceremonies allows communities to come together, this piece invites its audience to think about the mosaic of cultures that collectively form our identities and how we are all interconnected.

Burlington is a city that is rich in history and in community. This work reflects the city’s agricultural history which supports it’s current residential frameworks. Both working together to create an image of the Burlington known today. Burlington is a welcoming community with people that support themselves, their friends, and their neighbours.

For Barin, this piece was inspired by how significant a blossom is to the production of new fruit. The symbolism of a peach blossom varies across numerous cultures, but the ones that stood out to her were that of invincibility, vitality and youth. Through this piece, Barin hopes that people will be able to reflect on the past and be filled with warmth at their progress thus far, as well as hope for a brighter future ahead.

Danya’s aim when creating this digital painting was to encapsulate some of Burlington and the surrounding areas’ agricultural history. The hands carry lumber, wheat, and peaches, which are some of the resources that helped Burlington attract more settlers to arrive. Each hand has multiple different colored shapes on them representing Burlington’s diverse populations and emphasizing their importance being a part of Burlington’s community.

Caroline St. Canvass is an interactive, vibrant mural in Burlington, Ontario. It depicts well-known Burlington attractions such as the Royal Botanical Gardens and the Bruce Trail and elements of the natural environment including a waterfall and the Niagara Escarpment. The mural includes a set of buttons connected to a large screen so that passersby can participate in daily polls, building a sense of community and fun. The mural also houses a community dry-goods and menstrual products pantry that will operate in a ‘take what you need, leave what you can’ capacity.

Grow speaks to the original people of the land now called Burlington, know for its history of farming and growers this work depicts a young Ojibway girl releasing spirit to grow and bring life to the dark forest around her.

This photograph highlights movement that is practiced in private to be showcased publicly. Dance, in this case contemporary, is a great form of art that interprets ideas through symphonic gestures. Percy captures movement while preserving essence and simplicity. Motion so effortless. Her lens flows with the movements applied to create GRACE.

In this mural concept, I have heavily referenced the natural beauty of Burlington; honouring the long history of farming that has influenced the region since its birth. Using bright colours and a composition evoking strength and repetition, I’ve chosen to focus the artwork on the idea of Sowing and Reaping, and how our relationships to the earth, forests, and its produce are cyclical and must be founded in care and respect. With Burlington being declared the “Garden of Canada” in the early 20th century, it felt natural to immerse the viewer in a scene that brings beauty and growth to the forefront, using motifs of flowers, trees, and stars to depict the magic of life that flows from the land to all of us.

This piece focuses on the natural aspect of Burlington. The Burlington area is a place with fertile soil and moderate temperatures, which explains the use of the bright colors. There is an emphasis on the farms, as early farmers had prospered in this place before cash crops had taken over.

“My Hands” is comprised of 75 black and white analogue photographs of the artist slowly crafting a pair of leather moccasins with traditional Blackfoot beaded diamond patterns on the vamps as well as the completed moccasins themselves, representing the outcome of the artist’s progress and process. This work, encompassing a large print dry-mounted onto sintra board, would accommodate the size of the wall of the building and would be covered with a protective glass layering to shield it from weather and wear. From the 19th century until 1951, the Indian Act made it illegal for Indigenous people to practice their cultural traditions and ceremonies in Canada, including the Sun Dance and beadwork. Holy Singer’s reclamation of her Blackfoot roots in a response to this history and has involved re/learning traditional craft techniques, combining them with her knowledge and understanding of contemporary art. There are affinities between the reclamation of Indigenous cultural practices and the attempt to elevate ‘women’s craft’ by feminist artists beginning in the 1970s. Holy Singer’s stitching and beading are as much about survivance as they are feminist gestures. The moccasins are a manifestation of Blackfoot identity in a state of becoming: tying past to present and future.” – text by Devon Smither, co-curator of No’tsiitsi, 2023.