Toronto Through My Lens
Barbara Barrett Lane is located just south of Bloor Street West, running between Brunswick Avenue and Borden Street.
The Lane is home to this wonderful mural by Elicser, one of Toronto’s brightest street artists. This scene is dedicated to musicians and the people who listen to music.
By creating this blog I’ve discovered the Toronto sculpture works of Canadian visual artist and novelist Eldon Garnet piece by piece. As it turns out, over my years of photographing Toronto I’d been unknowingly capturing shots of Eldon Garnet’s work. Going through shots both old and recent I realized I have enough to publish a post focusing on Eldon Garnet’s collective sculptures in Toronto, soooooo… here we go.
Eldon Garnet is a true Torontonian; he was born here in 1946. His prolific sculptures and photographic work has been held at the National Gallery of Canada, the Museum of Contemporary Canadian Art and the Amsterdam Center of Photography. He is also a Professor at the Ontario College of Art and Design located in the city’s core. Eldon Garnet is represented by the Christopher Cutts Gallery in Toronto and the Torch Gallery, Amsterdam
To Serve and Protect is a three-part sculpture surrounding the Metropolitan Police Headquarters in downtown Toronto. The three pieces are located at the main Headquarters entrance at 40 College Street, the southeast corner of Bay and Grenville Streets, and the Grenville entrance. The sculptures were erected in 1988.
If you’d like to read my post dedicated to this 3-piece sculpture, click here.
This bridge on Queen Street East, which crosses the Don Valley Parkway, bears an inscription across the top which reads:
This river I step in is not the river I stand in
The text is based on a quote from the ancient Greek philosopher Heraclitus who said: You could not step twice into the same river; for other waters are ever flowing on to you. Basically, change is the one constant in life.
The overall textual theme of the work is Time, its substance and ambiguity. Time And A Clock is 1 part of a 3-site art piece, with the second part appearing as words embedded in the 4 corners of the Broadview Avenue and Queen Street East intersections. The last part of the work appears on 4 metal banners further east at Jimmy Simpson Park. Unfortunately I have no shots of the other 2 pieces of the installation (I’m thinking there just might be a further post on these), but as a whole the work is presented like this:
1) At the location Queen Street East/DVP location:
THIS RIVER I STEP IN IS NOT THE RIVER I STAND IN
2) Each of the 4 corners at the intersection of Queen Street East and Broadview Avenue, bear 1 of the following text embedded in the sidewalk:
TOO SOON FREE FROM TIME
TIME IS MONEY : MONEY IS TIME
BETTER LATE THAN NEVER
TIME = DISTANCE X VELOCITY
3) Near Jimmy Simpson Park (872 Queen Street East) 4 steel poles hold banners which read:
COURSING
DISAPPEARING
TREMBLING
RETURNING
On a less artistic note, this current steel Truss bridge crossing the Don Valley was built in 1911 by the Cleveland Bridge & Engineering Company of Darlington, England. It was higher in elevation than previous bridges at the location and streets on each side of the river were graded higher to meet the level of the bridge. The bridge was opened for streetcars on October 8, 1911, and for other road traffic 5 days later.
The bridge was renovated in the 1990s; Eldon Garnet’s public art was added at the top of the bridge in 1996.
Created by Eldon Garnet and Francis LeBouthillier and erected in 1989, this monument is located at the intersection of Blue Jays Way and Navy Wharf Court.
The sculpture depicts 2 life-sized Chinese workers precariously moving a beam into place to complete the construction of a railway trestle. The boulders at the base are from the Canadian Rockies. Three pairs of rocks from the original transcontinental rail route are parallel to the pedestrian pathway and contain a small plaque stating One by One the Walkers Vanish.
Between 1880 and 1885, 17,000 men emigrated from China, most from the province of Kwangtung (Guangdong), to work on Canada’s burgeoning railway. By some estimates, more than 4,000 workers died during the construction. In addition to facing racist discrimination, the immigrants were often given the most dangerous jobs in the already dangerous task of blasting through the Rocky Mountains to lay the Western section of the track. Many were killed by landslides, cave-ins, disease and explosions. Despite the high risk involved in their work, Chinese were paid half as much as other workers.
The Chinese Railroad Workers Memorial was erected to commemorate the contribution and sacrifice of these workers, who remained nameless in the history of Canada. After the railroad was complete, many of the immigrants who survived could not find new jobs. To that end, a plaque on the memorial reads:
With no means of going back to China when their labour was no longer needed, thousands drifted in near destitution along the completed track.
This sculpture is located at 21 Osgoode Lane, behind the Courthouse and adjacent to Nathan Phillips Square. It features the scales of justice on which balances a lamb (left) and a lion.
The text on the piece reads:
Every individual is equal before and under the law and has the right to the equal protection and equal benefit of the law without discrimination
A description from the artist’s website:
The lamb often signifies purity, innocence, meekness. It often represents either pure thought or a just person. The lion is rich in symbolism. In common correspondence, the lion is the “king of beasts,” the “natural lord and master,” the possessor of strength. It also can represent earth and at times “philosophical fire.”
The context in which the lamb and lion appear in this sculpture direct the interpretation of these two symbolic representations. One is large, one is small and yet the scales balance. The mis-weighted yet balanced scale invites us to question why and how. The answer is simple – on the scales of justice each individual is equal. One is strong and one is meek, one is powerful and one is weak, but the law treats both equally.
To borrow some further explanatory text from the McMurtry Gardens of Justice website:
The scales are also represented symbolically. The tower and the platform are constructed symmetrically yet askew. The tower is twisted to a 60 degree angle to the back of the courthouse, to which the platform is parallel. The ends of the platform are cut at 30 degree angles in correspondence to the support tower. The tower is constructed such that the dimensions from the top to the bottom are angled.
Everything about the mathematics of this scale is calculated to be in perfect proportion, balanced, but turned or angled 60 or 30 degrees, as are the proportions designed to range from 1 to 2. The final effect is a scale that is balanced yet in a complicated fashion, possibly a metaphor for the law itself.
The scales are constructed of brushed stainless steel. The lion and the lamb are life size, realistically rendered in bronze.
In Inversion, you will see upside down moose, foxes and wolves in front of the James Cooper Mansion condos, 28 Linden Street (Bloor/Sherbourne area). Placed in 2011, they are made of bronze.
But what exactly does it all mean? From Eldon Garnet’s website:
This sculptural work is a comment about our current, local relationship with the age-old Canadian, and particularly urban, interaction with nature. Simply put, nature has now been turned on its head. The threat has gone, the desire is not to fortify our existence against the wilderness which has been tamed to disappearance, but rather, it is now a nostalgic desire to embrace what no longer exists. Our current longing is to return a sense of nature to our environment, not to build walls against its presence, but rather to embrace nature.
Near the corner of Yonge and St. Joseph Streets stands Eldon Garnet’s sculpture Artifacts of Memory. Unveiled in 2016, it consists of 5 lines of text stretching out into interconnected yet disparate strands:
FROM ONE NARRATIVE TO THE NEXT
IF NOT TOMORROW TOMORROW
LUCKY ENOUGH TO FLY INTO THE FLAME
SLOWLY SURELY DISAPPEARING
FOLLOWED BY MOMENTS OF EQUILIBRIUM
The piece highlights the conditions of living in the modern world with a focus on the passage of time. The sculpture is meant to captivate the observer’s curiosity and reflection as they walk toward and under the artwork.
Eldon Garnet has expressed that Artifacts of Memory materially espouses the difficulty of coming to terms with history, time, and death.
Art critics have commented on Artifacts of Memory:
Sprouting a multiplicity of civic narratives, the sculpture resists the comfortable and easy sense of resolution – of certainty – often dispensed by less playful and less daring public art.
Well, that’s about it for Eldon Garnet’s sculptures in Toronto – at least the ones I know about. If you know of any I may have missed please let me know.
And exactly where is Clover Hill Park you may ask? Situated in the northwest corner of Bay Street and St. Joseph Street, it is nestled in amongst the University of Toronto buildings and St. Basil’s Catholic Parish at U of T. It’s kind of small and easy to miss but has a few interesting things to offer.
At one point, neighbourhood residents were incredibly frustrated with the park’s development. In the late 2010s it was finished and ready to enjoy, yet remained closed for months surrounded by fencing. City Councillors at the time – Mike Layton and Kristyn Wong-Tam – received many letters of complaint from area residents. At the time, both Councillors cited issues with payment of the developers, Saddlebrook, which had prevented the City from opening the park.
The building of the park was part of a master plan in 2006 for new condos in the area along with a green space for residents tied to the 50 St. Joseph Street parkette enlargement. Construction of the park began in 2017; in November 2020 it was finally opened and warmly welcomed by the community as a much needed green space.
Although it looks pretty dismal in mid-January, as below, it’s a green and inviting park in the summertime. There’s a little bit of something for everyone at Clover Hill Park:
This piece is entitled Zen West. Created in 1980 by Kosso Eloul, the stainless steel sculpture was donated by Father Dan Donovan of the Basilian Order in 1980.
Shameless self promotion:
If you’d like to learn about her story, please visit my Primrose post here.
I discovered these on King Street East a couple of weeks ago while walking over to Sumach Street to photograph the Cube House (if you’d like to read that post you’ll find it here).
Above these supports lie the Richmond and Adelaide Street East overpasses:
There is a small street in the Spadina Avenue/Richmond Street West area called Camden Street. While passing Camden Street this past weekend I noticed a flash of bright colour from a side alley there and decided I just had to explore further. What greeted me were some very colourful murals and artwork.
On the north side of Camden Street there is an unspectacular – actually rather dismal – parking lot. Here are the murals I found there (’tis a pity the tag vandals have damaged so many of them):
On the south side of Camden Street there is an unassuming, dark alley that displays some pretty impressive artwork. These cartoon-style murals remind of that Lichtenstein art that was so popular in the 80s.
The murals below were painted in 2006 by youth from the Cecil Harbourfront Community Centre as part of the City of Toronto’s Graffiti Transformation Project. These are seriously good:
In the same alley but not part of the City of Toronto’s Graffiti Transformation Project, are these pieces:
Frequently the best art can be found in the most unassuming places…. like this.
It’s time for another installment of what I’ve dubbed From The Vaults, which are TOcityscapes from several years past. These shots are from January 12, 2013 so I think they qualify as Vaults material.
For about 4 years in the early 2010s, there was a huge wooden hoarding/fence on the south side of Allan Gardens. The hoarding surrounded the main construction site of the Gerrard Watermain Replacement Project. Allegedly the size of 2 football fields (719 feet), the hoarding served as a massive art canvas for Toronto Aboriginal community artists.
Entitled The Nindinawemaaganidok/All My Relations Mural Project, the artwork was a visual representation of First Nations life and culture in Toronto. Led by nationally recognized and award winning artists Tannis Nielsen and Philip Cote, 21 artists from the First Nations community came together to design and paint the mural.
The mural depicted 5 different topics combined with Aboriginal history in the city of Toronto:
Here’s how it looked:
I couldn’t find any further history as to what happened to the mural after it was dismantled. At one point I heard it was to be auctioned off during the Pan Am games when they were hosted in Toronto a few years; I don’t know if that ever came to pass, though. At any rate, it proved to be an inspiring and beautiful mural for a number of years in Allan Gardens.
Murals on buildings near the corner of Broadview Avenue & Gerrard Street East
It was a sunny day when I took a spin through a bit of the redeveloped Regent Park in downtown Toronto. Most noticeable in the new section is the art instalment. Toronto artist Dan Bergeron has captured the essence and character of the neighbourhood’s residents by featuring a cross-section of individuals in this piece entitled Faces Of Regent Park. The permanent installation consists of 12 large laminate glass portraits positioned around the entry plaza to Regent Park on the north side of Dundas Street.
In a Toronto Life article, Dan Bergeron says he began the project by photographing around 45 subjects, then narrowed the roster down to a dozen faces that he felt best represented the area’s diversity. He painted over the black and white photographs with swaths of colours, graffiti scrawls and patterns.
I wanted to use high-contrast hues because where the pieces are located in the plaza, the concrete is grey and the buildings are dark. I really wanted to make these bright pieces as a juxtaposition to the surroundings.
Artist Dan Bergeron
On my way out of the plaza I found these murals on the side of one of the community buildings
Sitting in front of the 76-storey tower One Bloor East (1 Bloor Street East) is a sculpture everyone calls “the oil cans”, and it’s easy to see why. Designed by Israeli-born, UK-based designer and architect Ron Arad, the installation is actually called Safe Hands. It stems from the City’s One Percent for Public Art Program, which mandates that 1% of project costs of building a condo/new highrise must go towards public art that is clearly visible at all times from publicly accessible areas.
The sculpture consists of a pair of intertwined stainless steel multi-jointed fingers with ruffled surfaces in spots, and flashes of bright yellow and red where sections end. Rising 88 feet high, the sculpture was designed by Ron Arad, and produced locally by Stephen Richards of Streamliner Fabrication Inc.
Originally planned as a dynamic sculpture with moving upper sections, the piece was redesigned as static when logistics proved too onerous (and likely too expensive to fix should it have broken at some point). The piece evokes a feeling of motion, which I’m sure was the intent of the sculptor’s design.
The Alleyway Of Dreams is a mural-filled alley in the eastern part of Toronto, running between Coleman Avenue and Danforth Avenue, just east of Main Street. The Alleyway of Dreams began by homeowners painting simple murals on their backyard garden sheds facing the alley as a way to improve the space, create more safety and beautify an ugly place.
The Alleyway Of Dreams was started by Mark Kerwin and Sarosh Anwar, two local Danforth Village residents. The project is about creating an art and cultural corridor in east end Toronto, embracing nature, human potential, freedom of imagination and community. The project was begun in 2013.
It was a nice sunny day when I visited this quirky and fun alleyway… here’s what I encountered:
Yes I've seen these sculptures and have enjoyed them. Sculptures and statues really liven up a city!
You know what Marvin ? I never knew about this. I really have never got close enough to see all…
Yes Marvin. I have been to a couple of these festivals in the past. It is a HUGE EVENT now…
I have always admired this sculpture but it seems to disappear amongst all the grey facades of the surrounding buildings.…
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The word hidden is often overused but in this case it feels apt. This large space is quite pretty and…