18 Niches by Ferrara, Jackie (2003) — 81 Navy Wharf Court, Toronto [Architecture / Landscape] Medium: Brick
A Furnished Landscape by The Tree Frog Design Group (2003) — 1475 The Queensway, Toronto [Architecture / Landscape] Medium: Landscaping elements
A History of the Fur Trade in Canada by Coupland, Douglas (2009) — 155 Wellington Street West, Toronto [Mural / Painting]
A Series of Whirlpool Field Manoeuvres for Pier 27 by Aycock, Alice (2018) — 25 Queens Quay East, Pier 27, Toronto [Sculpture] Medium: Maelstrom: Aluminum powder coated white, Toronto Twister: Aluminum powder coated white, structural steel — For the Pier 27 project I tried to visualize the movement of wind energy as it flows through the site, creating random whirlpools, touching down and forming a dynamic three-dimensional massing of forms. The installation, entitled A Series of Whirlpool Field Manoeuvres for Pier 27, consists of two sculptures - Maelstrom, which was temporarily sited in front of the Seagram's building on Park Avenue in 2014, and Toronto Twister, which was designed in conjunction with Maelstrom specifically for the site. The composition of Toronto Twister was partially derived from images of lenticular clouds. The sculptural assemblages also suggest weather patterns, waves, wind turbulence, turbines, vortexes of energy, and the expressive quality of wind as well as the chaotic beauty of fluid/flow dynamics. As much as the sculpture is obviously designed and engineered, I wanted the work to have a random haphazard quality and feel as though it is spinning on the site, perhaps launching itself into the air. However, the sculpture is static.
A Small Part of Something Larger by Andrews, Stephen (2012) — 311 Bay Street, The St. Regis Hotel, Toronto [Mural / Painting] Medium: Stone, Glass, and Ceramic Mosaic Mural
A Tree Column by Hurlbut, Spring (1990) — 200 Walmer Road, Toronto [Sculpture] Medium: Bronze
Across the Great Span of Time by Scott-Taggart, Clare (2009) — 662 Sheppard Avenue East, Toronto [Sculpture] Medium: bronze
Across Time and Space, Two Children of Toronto Meet by Lum, Ken (2013) — 570 Bay Street, Motion Condos, Toronto [Sculpture] Medium: Bronze — This artwork calls up two possible early local residents, both children from different historical periods, suggesting something of the problem of historical discontinuity by creating a historical bridge from the past to the present. The two children look at one another with curiosity and overhead of passing pedestrians. The traversing viewers, in the act of walking through this corridor, are meant to embody something of the symbolic passage of time. They are meant to become, however briefly, in a cursory engagement not only with history but their own place within it.
Alberi di Murano (Trees of Murano) by Astman, Barbara (2010) — 825 Bay Street, The Murano Condominium, Toronto [Architecture / Landscape] Medium: Glass — This integrated art and architecture, public art project, incorporates colour photographic imagery on 217 exterior windows surrounding the building.
Approaching Red by Mustafa, Maha (2013) — CityPlace, Toronto [Sculpture] Medium: Integrated — Approaching Red Designed by Iraqi Canadian artist Maha Mustafa is her testament to a personal journey that took her from a war ravaged country to the safety and peace of her new home, Canadai. Located at the north-end of the public Mews between the Parade 1 and Parade 2 condominium buildings. The artist describes the work as "Two solid flat colored forms [that] swirl together into a sculpture, making a connection between the two buildings and improving the aesthetic experience of the building. The sculpture creates an effect of depth and a sense of perpetual movement."
Aspirations of Canadian Justice by Heit, Charles (YA' YA AXGAGOODIIT) (2006) — 180 Queen Street West, Federal Court House, Toronto [Sculpture] Medium: Integrated
Aurorae by Astman, Barbara (1995) — 200 Front Street West, Simcoe Place, Toronto [Architecture / Landscape] Medium: Etched Glass
Back to Front by Jason Bruges Studio (2014) — 300 Front Street West, Toronto [Light Installation] Medium: Integrated — Located at the corner of John and Front Street, providing the southern anchor to the "John Street Media Corridor". The sculptural expression of the artwork materially compliments the park design while activating public space through interactivity. The artwork senses the dynamic shadows, cast by the movement of people, the shifting of trees and the changing angles of the sun. These shadows transfer animated silhouettes across the artwork, challenging the boundary of back and front. Back to Front is inspired by its close proximity to the City's historic waterfront and to nearby Lake Ontario which exposes the City to dramatic weather fronts all year round.
Ballast by Lind, Jed (2013) — 430 King Street West, The Charlie, Toronto [Sculpture] Medium: Patinated Cast Bronze — Much like the Toronto waterfront the old and gritty loading docks, silos and rip rap have been replaced with bike paths, boardwalks and condominiums. I thought of a particular text that Buckminster Fuller had written about the origins of the roof. Fuller traced the origin of the roof to the skeleton of the whale. As he saw it the cavity / skeleton of the whale was the model on which early wood boats were made - think about the spine, ribs and planking of a boat like the anatomy of a whale. And early explorers used their upturned boats as ideal cover/shelter in new terrain and thus the inverted boat became a precursor to the modern roof - beams, planks and ridge board. So with this transformation in mind I became keenly interested in the Great Lake freight boats, Lakers, as they are called that have essentially been made obsolete in the wake of the changing demographic of the down town core. According to Fuller this was the natural progression from the natural - utility - settlement. The ship, a relic of an earlier time, has yielded to buildings like the one it stands before and is left to the viewer whether Ballast is rising from or sinking into the ground below. My hopes are that the architecture of Ballast will also create a social space, where residents of this area can contemplate these issues and children can play and discover.Artist Statement.
Banking Hours by Steinman, Barbara (unknown) — 2 Queen Street East, Toronto [Photography] Medium: Back-lit photographs
Barca Volante by Gazitua, Francisco (2005) — 11 Mariner Terrace, CityPlace, Toronto [Sculpture] Medium: Corten Steel
Between Heaven and Earth by McEwen, John (2002) — 1025 The Queensway, Toronto [Sculpture] Medium: Corten Steel
Between The Eyes by Deacon, Richard (1990) — 10 Yonge Street, Toronto [Sculpture] Medium: Painted Steel, Stainless Steel, Cement, Granite
Between the Skies by Haufschild, Lutz (1990) — 1 Adelaide Street East, One Financial Place, Toronto [Architecture / Landscape] Medium: Stained Glass
Bobber Plaza by Coupland, Douglas (2009) — Canoe Landing Park, Toronto [Multidisciplinary] Medium: Steel, Resin, LEDs — Complementing the Red Canoe and serving as the central locus of Canoe Landing Park, Douglas Coupland's "Bobber Plaza" is one of Toronto's most popular public artworks. Integrated into a water play plaza, this work gives welcome relief in the heat of summer.The Bobbers were inspired by colourful fishing floats (The artist explains that like the Canoe and Beaver Dam, the Bobbers are meant to reference the lake, as well as "create a sense of futuristic Canadian energy.")
Campsite Founding - Simcoe Memorial by Golden, Brad / Eichenberg, Lynne (1994) — 200 Front Street West, Simcoe Place, Toronto [Sculpture] Medium: Stone, Bronze, Mixed Metal, Water
Canada's First Post Office by Tod, Joanne (2011) — 234 Adelaide Street East, VU Condos, Toronto [Sculpture] Medium: Stainless Steel
Canoe and Calipers by McEwen, John (2006) — 105 The Queensway, NXT Condos, Toronto [Sculpture] Medium: Steel and Bronze
Canopy by Gazitua, Francisco (2009) — 38 The Esplanade, London on the Esplanade, Toronto [Sculpture] Medium: Steel
City Sounds by Favro, Murray (1992) — 21 Canniff Street, Toronto [Sculpture] Medium: Integrated
Cloud Bank by Göllner, Adrian (2006) — 1 King Street West, Toronto [Sculpture] Medium: Polyester Banner and Theatrical Lighting — Linking the old Dominion Bank building to the new skyscraper at 1 King West allowed for a lightwell and atrium, but the steel super-structure of the bank extended into the atrium space creating an imposing grid. As there are residential units with no exterior view directly across from the grid, I provided each with its own cloud. 24 sheer banners hang within the grid gently swaying. Theatrical lamps will be trained on each cloud and balanced with lamps housed behind the beams. Artist Statement.
Combination of the Two by Mullican, Matt (2005) — 313 Bremner Boulevard, Toronto [Sculpture] Medium: Steel
Compartment Earth by Paine, Roxy (2015) — 88 Queens Quay West, RBC Waterpark Place, Toronto [Sculpture] Medium: Stainless Steel
Constellation by Paley, Albert (2002) — 50 John Street, Rosemont Residences, Toronto [Sculpture] Medium: Stainless Steel
Contrappunto by Momoli, Vinicio (2006) — 111 Elizabeth Street, One City Hall Place, Toronto [Architecture / Landscape] Medium: Coloured Plexiglass
Copperfield Fence by McKinnon, John (1988) — Massey Street and Shaw Street, Copperfield Condominiums, Toronto [Sculpture] Medium: Steel
Desire by Dean, Tom (2005) — 400 Jarvis Street, Canada's National Ballet School, Toronto [Sculpture] Medium: Bronze
Dormez-Vous by Moyle, Alexander (2008) — 15 Greenview Avenue, Tridel / Meridian Residences, Toronto [Sculpture] Medium: Bronze — The public art for the Meridian Residences development is designed to benefit both residents of the development and their visitors by providing a high-profile art location directly associated with the development's public driveway and main entrance. The art engages landscape features including an entrance garden, water feature, soft landscaping and site furniture which provides an opportunity for collaboration between the artist and landscape architect in the design of the water feature and garden.
Double Take by Dark, Shayne (2014) — 580 Jarvis Street, X2 Condominiums, Toronto [Sculpture] Medium: Integrated
Double Vision by Dark, Shayne (2010) — 110 Charles Street East, X-The Condominium, Toronto [Sculpture] Medium: Integrated
Dream Ballet by Valentine, Harley (2016) — 8 The Esplanade, The Sony Centre for the Performing Arts, Toronto [Sculpture] Medium: Mirrored Finish Stainless Steel
Dream House (Urban Firefly) by Phaophanit, Vong / Oboussier, Claire (2015) — 12 York Street, ICE Condominiums, Toronto [Sculpture] Medium: Integrated — Urban Firefly work takes the form of a diminutive, powerful three-dimensional 'house image' perched atop a mighty yet elegant sculptural 'stilt'. During daylight hours Urban Firefly will be a strong and elegant sculptural object with multiple resonances: reminiscent of a tree house, an eyrie or a cabin. The reference to the archetypal house" object is direct and strong but there is also a sense of nest like fragility and precariousness in the way Urban Firefly sits, delicately held aloft by the outstretched 'fingers' of the robust stilt."
Drizzle by Troika (2010) — 125 Queens Quay East, Corus Quay, Toronto [Light Installation] Medium: Integrated — Drizzle is playing with the idea of a cloud being caught inside the building where rain appears to protrude through slits in the soffit. Drizzling rain appears to be falling through a long and narrow gap in the building. This illusion is created by custom designed simple LED and lens mechanisms that are placed along a line which allows for the creation of beautifully crisp animations of rain drops.
Echo by Hodges, Jim (2013) — 105 The Queensway, NXT Condos, Toronto [Sculpture] Medium: Galvanized Steel Plate, Polished Stainless Steel
Elevating the Millennium by Burnett, Brian (1997) — 222 Bremner Boulevard, Metropolitan Toronto Convention Centre, Toronto [Mural / Painting] Medium: Paint
Fairgrounds by Goulet, Michel (2003) — 250 Wellington Street West, The Icon, Toronto [Light Installation] Medium: Stainless Steel, Aluminum
Fence-on-the-loose by Acconci, Vito (unknown) — 650 Fleet Street, Waterpark City, Toronto [Sculpture] Medium: Integrated
Field Map I & II by Root, Derek (2011) — 1019 Sheppard Avenue East, Concord Park Place, Toronto [Architecture / Landscape] Medium: Integrated
Flow Blue by Hilton Moore, Marlene (2008) — 25 Carlton Street, Encore at The Met, Toronto [Sculpture] Medium: Stainless Steel, LED Lights, Resin — An avenue of electric-blue painted resin trees, seventeen feet in height, line an archway that joins Granby Street to Carlton Avenue Recalling the majestic trees along Granby Street, the work directs attention to the important connection and historic path between these two streets. The flow of blue is continued through an LED illuminated stainless steel fence 300m long, highlighting the intricate laser-cut tree branch design in the metal.
Flower Power by Di Suvero, Mark (1967) — CityPlace, Toronto [Sculpture] Medium: Integrated — Created by internationally reknowned sculptor Mark di Suvero, Flower Power, along with a similar sculpture, No Shoes, was commissioned for the International Sculpture Symposium in Toronto in 1967, and installed in High Park. . These works were the first large scale works completed by the artist and had been installed in High Park for more than 40 years. In 2008, the works were removed by City of Toronto Cultural Services and sent to the United States to be restored by the artist.
Flowers at Our Feet, Moon and Stars Above by Hilton Moore, Marlene (unknown) — 320 Tweedsmuir Avenue, The Heathview, Toronto [Sculpture] Medium: Integrated
Forest Walk by Pien, Ed (2011) — 120 Homewood Avenue, Wellesley Magill Park, Toronto [Sculpture] Medium: Corten Steel
Fountain - Four Seasons Hotel and Residences by Cormier, Claude (2012) — 55 Scollard Street, Four Seasons Hotel & Residences, Toronto [Multidisciplinary] Medium: Integrated
Fountaingrove by Cesta, Carlo / Krçer, Nestor (2014) — 38 Bastion Street, York Harbour Club Condos, Toronto [Sculpture] Medium: Integrated
Four Seasons by Coupland, Douglas (2014) — 55 Forest Manor Road, Parkway Forest Community Centre, Toronto [Sculpture] Medium: Corten Steel — The colours come from those used in boxes of Laurentien pencil crayons.
From the Top by Gorlitz, Will (1995) — 200 Front Street West, Simcoe Place, Toronto [Mural / Painting] Medium: Paint
Full Moon Clock by Castle, Wendell (1988) — 2 Bloor Street West, Toronto [Sculpture] Medium: Stainless Steel
Galleria by Calatrava, Santiago (1992) — 181 Bay Street, Allen Lamber Galleria, Toronto [Architecture / Landscape] Medium: Painted Steel
Garden Court by Burton, Scott (1992) — 181 Bay Street, Toronto [Multidisciplinary] Medium: Integrated
Gardiner Streams by Harvey, Katharine (2013) — 75 Queens Wharf Road, CityPlace, Quartz Condos Prisma Club, Toronto [Architecture / Landscape] Medium: Integrated — Artist Katharine Harvey spent hours perched in a building overlooking the Gardiner Expressway to plan her concept for "Gardiner Streams" her integrated glazing artwork expressively interprets traffic movement on the roadway.
Geo-Strata by Schantz, Karl (1995) — 200 Front Street West, Simcoe Place, Toronto [Multidisciplinary] Medium: Recycled Glass, Concrete
Glass Memory by Martini, Sandro (2012) — 832 Bay Street, Burano Condos, Toronto [Sculpture] Medium: Fresco, Etched Glass
Ground Cover by Astman, Barbara (1993) — 763 Bay Street, College Park 1, Toronto [Architecture / Landscape] Medium: Custom Concrete Pavers
Guardians by Breuning, Olaf (2013) — 85 East Liberty Street, King West Life Condominiums, Toronto [Sculpture] Medium: Aluminum, Stainless Steel — Guardians is Swiss artist Olaf Breuning's first permanent commission in Canada. Inspired by the spirit of the Easter Island stone figures which stand as timeless protectors of the land, Guardians is five abstracted figures grouped in relationship to each other as if in dialogue or collective dance. These aluminum and stainless steel sentinels are a focal point in the entry plaza of a new condominium residence. Their scale is monumental yet intimate, with personality and character expressed through the unique eyes of each figure. Guardians welcomes and protects simultaneously.
Hall of Names by Lexier, Micah (1997) — 100 Princes' Boulevard, Enercare Centre, Exhibition Place, Toronto [Sculpture] Medium: Stainless Steel — Installed in the building's 245-metre-long Galleria, this piece is made up of 1000 first names, laser-cut from thin sheets of stainless steel. The names hang like vines or stalactites from the galleria ceiling, and mirror the hundreds of thousands of greetings-by-name (and names from many cultures) that will go on at the National Trade Centre in the years to come.
Harbinger by Gìlner, Adrian (2007) — 21 Carlton Street, The Met, Toronto [Light Installation] Medium: Stainless Steel, LED Lights, Resin — Inspired by the streamlined design of the building tower, the artist designed a beacon of light that illuminates with a colour signaling the wind speed on the roof. Using LED technology and meteorological equipment, the colour range goes from blue, green, yellow, red to purple, where blue means calm, and purple signals gusts of wind closer to 60 km/hour.
Iceberg Benches by Coupland, Douglas (2009) — Canoe Landing Park, Toronto [Multidisciplinary] Medium: Integrated — Playful iceberg-shaped benches are lit from below with blue LED lighting, and gracefully float alongside the nearby Canoe.
Immigrant Family by Otterness, Tom (2008) — 18 Yonge Street, Toronto [Sculpture] Medium: Bronze
Inversion by Garnet, Eldon (2011) — 582 Sherbourne Street, James Cooper Mansion Condo, Toronto [Sculpture] Medium: Bronze — The multi-sited sculptural work, Inversion, 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.
Journals of Susanna Moodie by Pachter, Charles / Atwood, Margaret (2014) — 190 Fort York Boulevard, Toronto Public Library - Fort York Branch, Toronto [Sculpture] Medium: Integrated
Knot by Thib, Jeannie (2010) — 135 Village Green Square, Metrogate Park, Toronto [Architecture / Landscape] Medium: Integrated — To maximize the value of a limited art budget, the artist worked with the project landscape architect to create an artwork that was integrated with the overall landscape design. The granite "topiary" pieces can be used as benches, providing amenity to the park, while the knot pattern of the paving and extruded forms provides visual interest when viewed from the surrounding residential towers.
Lake Iroquois by McEwen, John (2008) — 107 The Queensway, NXT Condos, Toronto [Sculpture] Medium: Integrated
Lake Light Threshold by Carpenter, James (2012) — 18 York Street, York Street Pedestrian Bridge, Toronto [Architecture / Landscape] Medium: Glass, LED lights
Laws of Nature by Schelle, Susan (1999) — 10 Court Street, Court House Square, Toronto [Architecture / Landscape] Medium: Stone, Metal, Landscaping
Leaf Garden by Steinman, Barbara (2003) — 25 Breadalbane Street, East of Bay Park, Toronto [Architecture / Landscape] Medium: Granite, Landscaping, Water — The park at Opera Place is a sculptural space inspired by the relationship between nature and urban design. Foliage in the half-acre park consists of a variety of trees, shrubs, perennials, grass, ground cover and bulbs that ensure the park is visually pleasing throughout the year. The leaf nodes and main 'stem' pathways in the park are of coloured concrete, granite and soft planting with granite segments water jet cut like the cells of a leaf. The park also has a water feature inset in one of the leaf nodes. Alternately misting and spraying in a Morse code sequence it spells out 'it's time the stone consented to bloom' - a line of poetry by Romanian born poet Paul Celan.
Light Canoes by Mustafa, Maha (2009) — 23 Spadina Avenue, Toronto [Light Installation] Medium: Integrated — When faced with the necessity to create lighting for an underpass that runs beneath Spadina Avenue, just south of Front Street, the developer enlisted artist Maha Mustafa to intervene with a more creative solution to the problem. The result is this elegant sculptural lighting installation, which floods the 45-metre underpass with an incandescent blue light.
Light Containers by Covit, Linda (2013) — 525 Wilson Avenue, Gramercy Park Condos, Toronto [Sculpture] Medium: Integrated — This multi-component artwork animates the streetscape along Wilson Avenue and defines the primary entrance to the main public courtyard of the building while visually reinforcing the corner of the property. Integrated into the landscape design, through a simple illumination system and perforations in the sculptural forms, floral images appear, disappear and reappear. "Thousands of perforations compose an image of spy apple blossoms, referencing fruit that once grew in nearby orchards". Artist Statement
Lightning Bolt by Troika (2010) — 125 Queens Quay East, Corus Quay, Toronto [Light Installation] Medium: Integrated — The three-dimensional, highly intricate lightning bolt appears to enter into the concrete fabric of the building through the roof, into the atrium. It is clad with semi-transparent poly-carbonate and fitted with an internal LED system that allows the whole sculpture to be illuminated and animated.
In nature, lightning is - because of its extreme brightness and speed - thought of by an observer as two-dimensional. In reality, a lightning bolt unfolds in three dimensions, always following the path of least resistance. This means that a lightning bolt, if one could observe it as frozen in time, exhibits a complex three dimensional structure akin to a tree root system. The structure displays the sublime aspect of nature and entices the visitors to discover the elegant shapes and movements of this natural phenomenon on a dramatic scale.
Lightline by Snow, Micheal / Speirs, Jonathan (2011) — 311 Bay Street, The St. Regis Hotel, Toronto [Light Installation] Medium: Light Sculpture
Liquid Echo by Widgery, Catherine (1999) — 750 Bay Street, The Penrose, Toronto [Architecture / Landscape] Medium: Aluminum, Stone, Stainless Steel, Concrete, Honey Locust Trees
Maple Leaf Square - Canopy by United Visual Artists (2011) — 15 York Street, Maple Leaf Square, Toronto [Architecture / Landscape] Medium: Light Sculpture — Inspired by the experience of walking through a forest's dappled light, Canopy is a 90-meter long light sculpture spanning the front facade of the Maple Leaf Square building in Toronto, Canada. This permanent architectural installation is made of thousands of identical modules, organised in a non-repeating growth pattern. Their form, abstracted from the geometry of leaves, reflects nature. A combination of daylight and artificial light sweeping through the work recalls the activity of cells within a leaf, leaves in a forest canopy, or a city seen from the air.
Maple Leaf Square - Connection by United Visual Artists (2011) — 15 York Street, Maple Leaf Square, Toronto [Light Installation] Medium: LED Lights — This lighting system is a computer controlled multi-coloured, motion sensitive LED lighting system that has programmed artistic lighting patterns that respond to pedestrians walking through the bridge, creating an interactive experience. Clear tubes run from ceiling to floor holding the LED lights, while the wiring for same is completely hidden. Lighting is also installed beneath the handrails to provide a down-lighting effect.
Marais by Cesta, Carlo (2011) — 21 Grand Magazine Street, West Harbour Condos, Toronto [Architecture / Landscape] Medium: Integrated
Mariner by Lind, Jed (2014) — 2025 Sheppard Avenue East, Ultra at Heron's Hill, Toronto [Sculpture] Medium: Painted Stainless Steel — Standing at 16 ft. tall, mariner creates a mesmeric landmark in the development and enriches the Yorkland Road streetscape. Bold and beautiful, it consists of a series of angled geometric planes built up in an open-sided structure, some flat, some perforated, forming patterns that look almost like fragile lace at the top. It reads like a geodesic abstraction and dematerializing oceanic form as it breaks away into the sky. Painted in gleaming white that shimmers in the daytime and is lit up dramatically at night, this work of art will, undoubtedly, provide the public with an exciting new experience. Mariner symbolizes a vessel that contains our emotions ranging from hope and despair, but ultimately to possibilities" Lind declares. It finds its inspiration in the folded paper dymaxion maps developed by the late American architect, Buckminster Fuller, to represent our world as one island in one ocean. At the same time, the work refers to a crucial moment in 1967-68 when the first early images of space exploration returned to earth, changing our perception of space, cartography, and the unknown, reminders of our lonely planet's splendid isolation and delicate fragility.
Massasauga Lily by Fastwòms (1990) — 1 Adelaide Street East, One Financial Place, Toronto [Mural / Painting] Medium: Paint
Megaptera by Schmerholz, George (1993) — 121 King Street West, Toronto [Sculpture] Medium: Bronze, Granite
Memoire du Futur by Poirier, Anne / Poirier, Patrick (1992) — 200 Wellington Street, MetroCentre, Toronto [Sculpture] Medium: Stainless Steel, Mable, Stone
Mindshadows by Widgery, Catherine (2011) — 25 Broadway Avenue, The Republic Condos, Toronto [Sculpture] Medium: Perforated Aluminum and Stainless Steel — Words are the building blocks for thought. They give shape to our ideas. These cubes embody the energy and power of words within a structure of reason and order. Yet thought is without physical substance so these words dissolve in the shifting light, personifying the effervescence of our intellectual journey. The sculpture is 70% open space: a metaphor for an open, permeable mind. These words were selected intuitively by North Toronto Collegiate Institute students to be evocative without any single interpretation.
Mist Gardens by Cormier, Claude + Associates / NAK Design Group (2013) — 55 Scollard Street, Four Seasons Hotel & Residences, Toronto [Architecture / Landscape] Medium: Integrated
Mitosis Courtyard by Poussin, Pierre (2010) — 38 Dan Leckie Way, Toronto [Sculpture] Medium: Integrated — Located on Toronto's Lake Shore Boulevard, under the Gardiner Expressway, Mitosis Courtyard is composed of a series of laser-cut light columns, ranging from 6' to 14' high, large public seating featuring incorporated LED lighting systems and hand-drawn ground shapes using vibrant asphalt traffic paint. The biological cell motif serves as an abstract expression of the city's state of growth and movement, completing its waterfront location and paying tribute to the city's shoreline at the turn of the century, which once spanned this current space.
Monoceros by Fastwòms (2013) — 125 Western Battery Road, The Tower at King West, Toronto [Sculpture] Medium: Bronze — Three bronze elements, a 37' high Narwhal tusk, a Moon Disc with a diameter of 11', and a 3.5' high Treefrog, coexist in this work. According to the artists: Monoceros is based on the Tetraploid Gray Treefrog (Hyla versicolor) and the tooth or 'tusk' of the Narwhal (Monodon monoceros). In medieval Europe, rare and valuable Narwhal tusks were accepted as proof positive for the existence of the magical unicorn. The Unicorn and the Frog are both powerful icons from traditional and popular culture. They promise protection, good health, prosperity and wealth. Invest in natural wealth and the health of Narwhals and Frogs, tryst with reciprocal coexistence, and the Monoceros gyre of good fortune and good luck is yours to share."
Monument to the War of 1812 by Coupland, Douglas (2008) — 600 Fleet Street, Toronto [Sculpture] Medium: Steel and Resin
MOTH Gardens by Thib, Jeannie / Scott Torrance (2006) — 1092 Wilson Ave, Toronto [Architecture / Landscape] Medium: Limestone sculpture, steel arbour, airport & LED lights, wind socks — The design of MOTH Gardens is inspired by Downsview's history of aviation. At the core of the gardens a limestone sculpture refers to the first airplanes manufactured in Downsview - the Gypsy and Tiger Moths. The artwork was inspired by a photograph from the 1920s showing the word MOTH written in large white letters on the turf beside the original Downsview airstrip. The sculpture's stone sections of varying heights, which also serve as tables and seating, coalesce into the letters M,O,T,H when seen from above. A vine covered steel arbour at the west side of the gardens incorporates various aircraft references. A row of windsocks marks the park's eastern end. The central grassy "airstrip" is defined by a line of blue solar runway lights and blue LED light strips attached under the stones cast a soft blue outline around the MOTH letters at night. Each letter of the MOTH sculpture is surrounded by a unique garden. These rose, flowering annual, scented herb and butterfly gardens are intersected by walkways patterned on Italian Renaissance garden designs in recognition of the area's early Italian immigrants. Downsview Memorial Parkette was originally dedicated in 1946 to honour local men and women who sacrificed their lives in the Second World War. A dedication to them is inscribed in the low stone wall that makes up one section of the O.
Mrs. Simcoe's Dream by Bos, Dianne / Ian Paterson (1995) — 200 Front Street West, Simcoe Place, Toronto [Mural / Painting] Medium: Paint
Near North Park by Reitzenstein, Reinhard (2012) — 12 Kenaston Gardens, Kenaston Gardens Parkette, Toronto [Architecture / Landscape] Medium: Cast bronze tree and boulders
Nova by Dark, Shayne (2015) — 125 Peter Street, Tableau Condominiums, Toronto [Sculpture] Medium: Steel, industrial paint
One Hundred Links Equals One Chain by Cruise, Stephen (1998) — 5172 Yonge Street, Toronto [Sculpture] Medium: mixed metal
One Phoebe Fence and Gates by McKinnon, John (2004) — 18 Beverley Street, Phoebe on Queen, Toronto [Multidisciplinary] Medium: Steel
Ongoing Journey by Point, Susan (2006) — 180 Queen Street West, Federal Court House, Toronto [Sculpture] Medium: Integrated
Orenda by Hilton Moore, Marlene (2003) — 373 Front Street West, Toronto [Sculpture] Medium: Glass, Steel, Stone
Overlay by Schelle, Susan / Gomes, Mark (1993) — 901 King Street West, Toronto [Architecture / Landscape] Medium: Granite, Bronze
Palimpsest by Bos, Dianne (2010) — 112-116 George Street, VU Condos, Toronto [Photography] Medium: LED-backlit Photo
Patterns for the Tree of Life by McEwen, John (1988) — 19 Park Road, Asquith Green Park, Toronto [Sculpture] Medium: Steel
People Walking by Opie, Julian (2009) — 333 Bloor Street East, Rogers Head Office, Toronto [Light Installation] Medium: LED screen
Perpetual Motion by Gazitua, Francisco (2011) — 70 East Liberty Street, Toronto [Sculpture] Medium: Integrated
Pi by Penny, Evan (1995) — 220 Bay Street, Toronto [Sculpture] Medium: Bronze
Pixel Cube by Rokeby, David / Awad, Michael (2010) — 25 York Street Tower, TELUS House Toronto, Toronto [Light Installation] Medium: LED Lights — Pixel Cube is a 12 x 15 x 18 foot cube made up of 30,000 individually controllable colour LED's suspended in the foyer of 25 York Street. The pixels create a three dimensional image surface that can update at full video speed. A number of different approaches are used to present abstract and real-world imagery on and in the cube. The cube can present material prepared in advance, but it can also be live, and interactive. The cube is real three dimensional display surface. By selectively lighting the pixels, dynamic light sculptures can be can be created and interacted with.
Pond by Krçer, Nestor (2009) — 628 Fleet Street, West Harbour City Condos, Toronto [Architecture / Landscape] Medium: Granite and Marble — Pond is a public art frieze that wraps around 628 Fleet Street between the second and third floors. Up close, Pond depicts floating water lilies in a variety of arrangements. At a distance, the white flowers in the panels appear as stars that closely mirror the constellations of the northern hemisphere, which are visible at this location from time to time. This frieze connects the terrestrial and celestial spatial fields in our world.
Pool Lane/La velocite de l'eau by BGL (Bilodeau,Jasmin / Giguere, Sebastien / Laverdiere, Nicolas) (2016) — 875 Morningside Avenue, Toronto Pan Am Sports Centre, Toronto [Sculpture] Medium: Integrated
Puente de Luz / The Bridge by Gazitua, Francisco (2011) — Pedestrian Bridge connecting Front Street West to Queens Wharf Road, CityPlace, Toronto [Architecture / Landscape] Medium: Integrated — Located over the busiest railway corridor in Canada, the Puente de Luz is a sculptural pedestrian bridge and the largest public art installation in Canada. The name Puente de Luz, or Bridge of Light, was chosen to signify the link between North and South and the connection between the two countries that came together to build it - Canada and Chile. The bridge's unique yellow color was chosen to stand out against the grey background of the surrounding area.
Radioville by Brener, Roland (2005) — 285 Mutual Street, Radio City Condos, Toronto [Sculpture] Medium: Stainless Steel, Light
Rail Cuts by Burtynsky, Edward (2009) — 155 Wellington Street West, Toronto [Photography] Medium: Integrated
Red Orange and Green by Snow, Michael (1992) — 69 Huntley Street, Toronto [Sculpture] Medium: Stainless Steel
Remembered Sustenance by Short, Cynthia (1992) — 55 John Street, Metro Hall, Toronto [Sculpture] Medium: Bronze, Cedar Hedge
Rising by Huan, Zhang (2012) — 180 University Avenue, Shangri-La Toronto, Toronto [Sculpture] Medium: Integrated — Rising was conceived as a philosophical reflection of the world around us. The polished stainless-steel sculpture is comprised of countless doves, the international symbol of world peace, and a twisted tree branch that resembles the body of a dragon. The sculpture draws an analogy to the fragile conditions facing our planet. The artist seeks to convey the message that humans can exist in harmony with nature, and that, if this delicate balance is struck, our cities will become better places to live.
Rosa Nautica by Gazitua, Francisco (2007) — 11 Brunel Court, CityPlace, Toronto [Sculpture] Medium: Steel — Rosa Nautica is the second of three major sculptural works by Chilean artist Francisco Gazitua at CityPlace. The literal translation of rosa nautica is "compass rose" or "windrose", which is a nautical chart used to indicate the cardinal directions of north, south, east and west. The sculptural form of Rosa Nautica also incorporates elements of a sextant which is another type of navigation instrument used to measure the angle of the stars from the horizon. Gazitua explains that his interest in nautical themes relates to the rich maritime history of Chile, as well as his fascination with the sea as evoked in literature and poetry.
Rose Wall at Mist Gardens by Covit, Linda (2013) — 55 Scollard Street, Four Seasons Hotel & Residences, Toronto [Architecture / Landscape] Medium: Integrated
Salmon Run by Schelle, Susan (1991) — 1 Blue Jays Way, Rogers Centre, Toronto [Sculpture] Medium: Steel, granite
Search Light, Star Light, Spot Light by McEwen, John (1999) — 40 Bay Street, Scotiabank Arena, Toronto [Sculpture] Medium: Corten Steel
Selections From The Synopsis of Categories by Lexier, Micah (1992) — 55 John Street, Metro Hall, Toronto [Sculpture] Medium: Aluminum
Sentinelles by Morin, Jean-Pierre (2009) — 500 Doris Avenue, Grand Triomphe 2, Toronto [Sculpture] Medium: Integrated — This multi-component artwork maximizes public accessibility and visibility of the artwork through consideration of site conditions, built form opportunities and context. The artwork presents a strong presence on Yonge Street while the through-?block breezeway provides opportunities for a series of artwork elements that have been integrated with landscape finishes. The artwork complements the architecture, landscape architecture and urban design of the project.
Shift by Taïn, Carl (2008) — 1 St. Thomas Street, One St. Thomas Residences, Toronto [Architecture / Landscape] Medium: Marble
Shoal by Troika (2010) — 125 Queens Quay East, Corus Quay, Toronto [Sculpture] Medium: Multimedia Installation — Troika's public artwork Shoal combines sculpture with architecture and technology. Spanning across a 50 meter long corridor, 467 fish-like objects wrapped in iridescent colours and suspended from the ceiling rotate rhythmically around their own axis to display the movements and interdependency typical to schools of fish. The ceiling architecture is set in motion and appears liquefied changing the spatial experience of the corridor while opening up the surrounding architecture infinitely towards Lake Ontario.
Shoreline by Clapsaddle, Jerry (1996) — 100 Princes' Boulevard, Enercare Centre, Exhibition Place, Toronto [Architecture / Landscape] Medium: Brick Pavers — This piece consists of 135,000 individually-laid paving stones at the building's entrances, which form the public promenade adjacent to Princes' Boulevard. A wave pattern moves throughout the design of shoreline, compressing and expanding dynamically. Clapsaddle sees this wave as a metaphor for the flow of trade on the lake-shore site, as well as the forces of nature there.
Shoreline Commemorative Feature by Raff, Paul (unknown) — 55 Front Street East, Toronto [Sculpture] Medium: Integrated
Sky Bridge Patterns by Redl, Erwin (2011) — 50 Lynn Williams Street and 60 Pirandello Street - Zip, Battery Park and VIBE Condos, Toronto [Light Installation] Medium: Light Installation with Acrylic and Animated RGB LEDs — The installation transforms the two pedestrian glass bridges into beacons of light reflecting the vibrant activities of the Liberty Village towers. The residents crossing the bridges walk between the installation's lit sheets of glass mounted against the windows. Gradual color and brightness shifts of the glass create a gigantic light mosaic enveloping the viewers. The mosaic's light patterns fade slowly into each other creating a rhythm that breathes a contemplative mood into the surroundings.
Sky Reach by Kantaroff, Maryon (2002) — 450 Mount Pleasant Road, Toronto [Sculpture] Medium: Bronze
Snowm'n by Fastwòms (1997) — 222 Bremner Boulevard, Metropolitan Toronto Convention Centre, Toronto [Sculpture] Medium: Bronze
Spectrum by Balmond, Cecil (2017) — 88 Scott Street, 88 Scott Condominium Residences, Toronto [Sculpture] Medium: Integrated
Speech Bubble by Marman, Jennifer / Borins, Daniel / Khamsi, James (FIRM a.d.) (2016) — 295 Adelaide Street West, Toronto [Sculpture] Medium: Integrated
Spillway 2013/Sherway Gate by McEwen, John (2013) — 225 Sherway Gardens, One Sherway Condos, Toronto [Sculpture] Medium: Steel
Spiral Fountain by Schwarz, Judith (1989) — 1 Blue Jays Way, Rogers Centre, Toronto [Sculpture] Medium: Bronze
Spire Stela by Powning, Peter (2014) — 3180 Bathurst Street, Cranbrooke Village, Toronto [Sculpture] Medium: Integrated — This two component artwork addresses the primary entrances to the building: the retail entrance from Bathurst Street and the residential entrance from Saranac Boulevard. These two, cast bronze, obelisk-like sculptures will be sheathed with a cast bronze skin of personal and historic mementos gathered through a series of community based "casting sessions". The artwork participates in the collective memory of the community through the provision of time markers that are both retrospective and prescient. As the client's mandate is to provide democratic financing for home ownership, the artist procurement was similarly democratic in that a national, open competition was held.
Split Rock Gap by Gazitua, Francisco (2014) — 150 East Liberty Street, Liberty Place, Toronto [Sculpture] Medium: Integrated
Spring by Lahey, James (2015) — 121 McMahon Drive, Tango Condominium, Toronto [Sculpture] Medium: Coloured transparent film afixed to glazing
Starburst Clock Tower by Coupland, Douglas (2009) — 939 Lawrence Avenue East, Don Mills Centre, Toronto [Sculpture] Medium: Integrated
Stardust and Time by McEwen, John (2009) — 25 Capreol Court, CityPlace, Luna Condos, Toronto [Sculpture] Medium: Integrated
Still Dancing by Oppenheim, Dennis (2010) — 33 Mill Street, Distillery Historic District, Toronto [Sculpture] Medium: Steel — Still Dancing consists of a 38-foot chimney-like structure above a chamber formed by half circular arcs that elevate the chimney and allow people to enter under it. Angled down from the chimney is a massive spiral configuration made of perforated stainless steel. It encloses a pulsating, eighteen foot diameter frozen tear drop shape representing a liquid formation from a distillery. The spiral and tear drop shape are ignited by light operating in multiple directions on the surface of the structure.
Straight Flush by Turrell, James (2011) — 22 Adelaide Street East, Bay Adelaide Centre, Toronto [Light Installation] Medium: LED Lights — The lobby of the Bay Adelaide Centre features a light installation by world-renowned American artist James Turrell. The work, nearly five years in the making, consists of five glass elements recesses into a specially constructed wall in the south lobby. Arrays of LED lights have been programmed to run for 116 minutes. The installation creates a magnificent experience through the artist's exploration of light, optical phenomenon and spatial perception. This is Turrell's first permanent public commission in Canada.
Straight Forward by Zeman, Achim (2016) — 72 Esther Shiner Boulevard, Tango2 Condo, Toronto [Sculpture] Medium: Integrated
Strata by Powning, Peter (2013) — 21 Widmer Street, Cinema Tower, Toronto [Sculpture] Medium: Stained Concrete, Cast Bronze, Glass, LED Lighting — The concept for Strata is an imagined core sample of the geology below the building drawn up from the depths. The precast concrete is sculpted and stained as a vivid, dreamlike, possibly surreal vision of stone. The bronze relief represents what I'm calling "the human era" as an 'archaeological crust' devised from artifacts mainly found on the site. The three bronze strata loosely represent pre-European history, the post contact/modern era, and possibly a post-human era or at least a future in which our footprint is very light. The glass represents aquifers. The building is Cinema Tower and associates itself with TIFF. There is a theatrical movie-set quality that informs the concept as well. Atrist Statement.
Summer Clouds by Pernu, Jaakko (2011) — 33 Singer Court, Toronto [Sculpture] Medium: Weathering Steel
Superior by Coupland, Douglas (unknown) — 120 Bremner Boulevard, Toronto [Sculpture] Medium: Integrated
Surface Design for Tempered Glass Windscreens by Poldaas, Jaan (1992) — 200 Wellington Street West, MetroCentre, Toronto [Sculpture] Medium: Tempered Glass
Synthetic Garden of Eden by Spiegel, Stacey (1990) — 1 Adelaide Street East, One Financial Place, Toronto [Sculpture] Medium: Stainless Steel, Bronze, Marble, Glass
Tempo by Kipps, Paul / Whiten, Colette (2006) — 5000 Yonge Street, Transamerica Tower, Toronto [Sculpture] Medium: Bronze, granite
Tender by Kipps, Paul / Whiten, Colette (1996) — 200 Front Street West, Simcoe Place, Toronto [Sculpture] Medium: Integrated
The Art of the Possible by Gellman, Mimi (1990) — 1 Blue Jays Way, Rogers Centre, Toronto [Sculpture] Medium: Stained Glass
The Ascent by Kipps, Paul / Whiten, Colette (2002) — 1121 Bay Street, Elev'n Residences, Toronto [Sculpture] Medium: Paint, Metal
The Audience by Snow, Michael (1989) — 1 Blue Jays Way, Rogers Centre, Toronto [Sculpture] Medium: Painted Fiberglass
The Brickman by Idee, Inges (2010) — 112-116 George Street, VU Condos, Toronto [Sculpture] Medium: Brick — Brickman is an urban figure, both abstract and figurative blending elements of 19th century history with a contemporary take on monumental sculpture. The sculpture poses questions of human scale and urban development and comments on distinctive architectural materials and features in this historic area.
The Entire City Project by Awad, Michael (2010) — 25 York Street Tower, TELUS House Toronto, Toronto [Photography] Medium: Integrated
The Festival Walkway by Reitzenstein, Reinhard (2003) — 10 Bellair Street, No. 10 Bellair Residences, Toronto [Sculpture] Medium: Bronze
The Jack Pine Remembered by Clark Espinal, Panya (2004) — 15 Barberry Place, Amica Bayview Village, Toronto [Sculpture] Medium: Aluminum, Steel
The Monument to Construction Workers by Priest, Margaret (1993) — 14 Temperance Street, Toronto [Sculpture] Medium: Mixed Media: Aggregates of Bronze Pipe, Granite, Brickwork, Etched Glass
The Names that Live and Sometimes Fade While Time Flies by Parla, Jose (2011) — 10 Capreol Court, CityPlace, Parade 1 Condominium, Toronto [Mural / Painting] Medium: Integrated — The Names that Live and Sometimes Fade While Time Flies is the title of one of two murals painted by Brooklyn, NY-based artist JosàParlàat CityPlace - this one located in the north lobby of the Parade 1 condominium. The artist explains that the painting is an homage to friends, writers, artists, and collaborators who have worked with or influenced him throughout his career. Some of the names he knows like family, others he may have read about in books, some are still with us while others are dearly departed. This expansive work measures a staggering 66' X 16'.
The Poet, The Fever Hospital by Miller, Bernie (1992) — 215 King Street West, Toronto [Sculpture] Medium: Bronze, Granite, Steel, Marble
The Sundial Folly by T-Zero Design (De Figueiredo, Paul / Fung, Jonathan) (1995) — 25 Queens Quay West, Toronto [Sculpture] Medium: Metal, Stone, Water
The Terry Fox Miracle Mile by Coupland, Douglas (2009) — Canoe Landing Park, Toronto [Photography] Medium: Integrated — This one-mile run is a monument to Canadian athlete Terry Fox. At the age of 18, Terry lost his leg to cancer. Believing that the only thing that can provide hope to a person with cancer is research, he decided to raise money by running a "Marathon of Hope" - one marathon (26.2 miles) a day, from St. John's, NL, to Vancouver, B.C. Between April 12 and September 1, 1980, Terry made it two-thirds of the way across Canada - 3,339 miles, close to 143 marathons in a row - before his cancer returned and stopped the run. Nobody in recorded history has ever run as many consecutive marathons. Terry died within the year, on June 28, 1981. Partly because of the money he raised, and the money the Terry Fox Foundation raises annually with its run, Terry would not only be alive today were he to have the same cancer, but he would also have his leg. If there's a miracle to Terry's run, it is the miracle of perseverance, courage and grace in the face of unthinkable odds. Two laps of this park (marked with maple leaves), equals one mile. Please experience it as you will, and along the way, contemplate photos of items from Terry's family's collection and more thoughts about Terry and his 1980 run. - Douglas Coupland
The Watchers - Full Circle by Von Tiesenhausen, Peter (2002) — 2 Queen Street East, Toronto [Sculpture] Medium: Cast Iron, Granite
The Windows Suite by Snow, Michael (2006) — 210 Victoria Street, Pantages and Opus Condominium Tower, Toronto [Sculpture] Medium: Light
The York Teamway by Houle, Robert (1997) — York Street South of Front Street, York Street Teamway, Toronto [Sculpture] Medium: Inlaid Bronze
Thing's End by Carl, James (2012) — 80 John Street, Festival Tower, Toronto [Sculpture] Medium: Integrated
Time Cones by Golden, Brad / Eichenberg, Lynne (1996) — 25 Sheppard Avenue West, Toronto [Architecture / Landscape] Medium: Stainless Steel and Plants — Through its distinctive forms and combination of stainless steel and plant materials, Time Cones mark the entrance plaza of this office tower. Incised into the spiral ribbon of the large cone and the top ring of the planter cones, a text by renowned poet Christopher Dewdney describes the geological strata of the site and lists the glacial lakes which once covered the local landscape. Time Cones act as both urban landmark and garden element, participating in the relationship between landscape, art, and architecture in the City of North York.
Tipping Fountain by Fones, Robert / Teeple, Stephen (2004) — 10 Scrivener Square, Toronto [Multidisciplinary] Medium: Bronze, Concrete, Granite
Tom Thomson's Canoe by Coupland, Douglas (2009) — Canoe Landing Park, Toronto [Sculpture] Medium: Integrated — Viewed by millions of motorists travelling the Gardiner Expressway and walking in and around Canoe Landing Park, Douglas Coupland's startling red canoe serves as a symbolic entrance marker to the heart of downtown Toronto. Constructed as part of a comprehensive program of artwork for the park, this canoe is perched over the edge of a landscaped berm that was built using excavated materials from the construction of Concord CityPlace.
Toronto 360 by Martin, Dean (2013) — 6023 Steeles Avenue East, Toronto [Sculpture] Medium: Steel
Torque by Marman, Jennifer / Borins, Daniel / Khamsi, James (FIRM a.d.) (unknown) — 120 Bremner Boulevard, Toronto [Architecture / Landscape] Medium: Integrated
Tracings by Covit, Linda (2010) — 5791 Yonge Street, Toronto [Sculpture] Medium: Integrated — This multi-component artwork is integrated into the landscape design and facade of the building. The artwork components situated within the planter elements frame the main entrance and provide an elegant and sophisticated address. The rhythmic lighting components of the artwork complement the building facade and extend the artwork across the project site as a means of engaging building residents and pedestrians.
Tribute by Astman, Barbara (1995) — 200 Front Street West, Simcoe Place, Toronto [Sculpture] Medium: Etched Glass
Tribute to Baseball by Haufschild, Lutz (1990) — 1 Blue Jays Way, Rogers Centre, Toronto [Sculpture] Medium: Tempered Glass
Turtle Pond by Fastwòms (1997) — 222 Bremner Boulevard, Metropolitan Toronto Convention Centre, Toronto [Mural / Painting] Medium: Terazzo Floor
Two Circles by Lexier, Micah (2016) — 333 Bay Street, Bay Adelaide Centre, Toronto [Mural / Painting] Medium: Integrated — Two Circles at 22 Adelaide Street West, won an Award of Excellence at the 2017 Urban Design Awards.
Universal Link by Mann Inc., Kurtz (1997) — 100 Princes' Boulevard, Enercare Centre, Exhibition Place, Toronto [Mural / Painting] Medium: Integrated
Untitled by Goodman, Jeff (2002) — 118 Yorkville Avenue, The Hazelton Hotel Porte-Cochere, Toronto [Architecture / Landscape] Medium: Integrated
Untitled by Reitzenstein, Reinhard (2002) — 12 Kenaston Gardens, Kenaston Gardens Parkette, Toronto [Architecture / Landscape] Medium: Glass
Untitled (Ceiling) by Chihuly, Dale (2003) — 318 Wellington Street West, the SoHo Hotel & Residences, Toronto [Sculpture] Medium: Glass
Untitled (Heads) by Kaneko, Jun (2017) — 56 Blue Jays Way, Bisha Hotel and Residences, Toronto [Sculpture] Medium: Integrated — Axial to Mercer Street and framing the entrance of the Bisha Hotel, two large, polychrome, bronze heads - one with facial features defined, one without - welcome guests of the Hotel, while providing figurative animation to the adjacent streetscape.
Untitled (Mountain) by Kapoor, Anish (1995) — 200 Front Street West, Simcoe Place, Toronto [Sculpture] Medium: Aluminum
Untitled by Bowers, Robert (1987) — 1055 Bay Street, The Polo Club 1, Toronto [Sculpture] Medium: Bronze, Marble
Untitled by Schelle, Susan / Gomes, Mark (1993) — 38 Avenue Road, The Prince Arthur Condos, Toronto [Sculpture] Medium: Granite
Untitled (Ripley's Aquarium) by Awad, Micheal / Rokeby, David (2013) — 300 Front Street West, Ripley's Aquarium of Canada, Toronto [Sculpture] Medium: Integrated
Untitled (Scales) by Tod, Joanne (2006) — 180 Queen Street West, Federal Court House, Toronto [Sculpture] Medium: Integrated
Untitled (The Kensington on Old Mill) by van der Ham, Leo M. (1999) — 10 Old Mill Trail, The Kensington on Old Mill, Toronto [Sculpture] Medium: Metal
Untitled (The Monet - Bridge) by Kipps, Paul / Whiten, Colette (2005) — 60 Byng Avenue, The Monet, Toronto [Sculpture] Medium: Integrated
Untitled (The Monet - Swirl) by Kipps, Paul / Whiten, Colette (2005) — 60 Byng Avenue, The Monet, Toronto [Sculpture] Medium: Integrated
Variegation Courtyard by Poussin, Pierre (2014) — 75 Queen's Wharf Road, CityPlace, Toronto [Sculpture] Medium: Integrated
View Screens by Gìlner, Adrian (2006) — 5 Mariner Terrace, CityPlace, Harbour View Estates, Toronto [Sculpture] Medium: Integrated — The View Screens were created to partially obscure the entranceways to garages along Spadina Avenue. Since the residential towers for which they were created are called Harbour View and the screens both enhance and obscure a view, the word VIEW is transcribed into Morse code and repeated to create the pattern.
Warm By Night by Gìlner, Adrian (2005) — 10 Capreol Court, CityPlace, Parade 1 Condominium, Toronto [Light Installation] Medium: Coloured Light
Wave Side by Marman, Jennifer / Borins, Daniel (2011) — 612 Fleet Street, Toronto [Sculpture] Medium: Stainless Steel
Wavelengths by Raff, Paul (2014) — 18 Lower Jarvis Street, Market Wharf, Toronto [Sculpture] Medium: Fiberglass panels on steelframe structure — The sculpture Wavelengths captures Lake Ontario's dynamic surface and gives a public passage visual interest. Wavelengths is suspended overhead in a vehicular and pedestrian passage that runs within Market Wharf from Market Street to Jarvis Street, south of historic St. Lawrence Market. Until about ninety years ago, Lake Ontario rolled over the site of Market Wharf. At approximately the level of the ceiling of the new public passageway, the lake's surface glittered and heaved for many millennia, fascinating with its universally appealing beauty. Imagine seeing the lake's surface frozen in static, sculptural form. Imagine walking underneath and experiencing it. Wavelengths provides this experience. The artwork consists of one hundred and six 6' x 10' custom fire-retardant fiberglass panels on a steel frame structure, forming the ceiling of the passageway. The artwork's panels create five variations in wave patterns, which tessellate to meet at the edges. With the dynamic luminosity and form of the lake's surface, this iconic connection links the present to the past. Wavelengths transcends the mundane to a rapture of light, colour, and vitality to the passageway.
We Are All Animals by Public Studio (2015) — 1830 Bloor St West, High Park Residences, Toronto [Sculpture] Medium: Integrated
What's Your Name by Sandler, Ilan (2011) — 25 Broadway Avenue, The Republic Condos, Toronto [Sculpture] Medium: Stainless Steel — What's Your Name? identifies NTCI students past and present by reproducing their proper names and handwritten signatures on the sculpture's stainless steel surface. "What's Your Name?" is often the first question we ask someone, and by answering we announce ourselves to each other and to the world. During adolescence our relationship to proper names tends to change; a name is no longer something given but something made, crafted and personalized through the deliberate art of the signature. Schools, and particularly high schools, are where the proper name and the signature intersect. Paper and print, which are the core tools of education, become dynamic sculptural forms on which an imprint of students' public and private identities is inscribed.
BlueGold Variations by Revington, Dereck (unknown) — Windermere Avenue and Gardiner Expressway, Windermere Underpass, Toronto [Light Installation] Medium: Integrated — BlueGold Variations consists of LED floodlights along the upper retaining walls of the Windermere Avenue underpass. The underpass is illuminated daily from dusk until dawn, whose frequency and intensity are activated by readings of a wind sensor along the Gardiner Exressway. In the early evening, the underpass walls are projected in gold and as the night advances they turn to blue, returning to gold in the early morning. These wave projections will intensify or decrease in frequency in synchronicity with the wind velocity by responding to a wind sensor stationed along the Gardiner Expressway.
Woodpecker Column by Fastwòms (1997) — 222 Bremner Boulevard, Metropolitan Toronto Convention Centre, Toronto [Sculpture] Medium: Bronze, Fiberglass, Colour Gels
Yard Stones by Hannah, Adad (2016) — 20 Bruyeres Mews, The Yards at Fort York, Toronto [Sculpture] Medium: Shotcrete and cast pigmented concrete over steel frame
Eagle V.1 by Drever, Dean (2017) — 1 The Esplanade, Toronto [Sculpture] Medium: Integrated — In researching the site and surrounding area, I came upon documentation of a ceramic pot and bird effigy circa 1300-50 made by the Iroquois who lived on the land during that time period. It caused me think about how, throughout the ages, we have always looked to animals as a way of knowing who we are in relation to other beings, and also to the land we inhabit. Because the site of the Esplanade is historically associated with movement and travel, I immediately thought of the eagle as a symbol of both, and at the same time, representative of past, present, and future relationships to our environment. The period in which the ceramic pot and effigy was created most likely demonstrated a relationship to the spirit of the bird, in a time when people lived much closer to the land and the animals with whom they shared it. My endeavour when creating this sculpture is to do the same - I want to invite connection to the spirit of the animal, and also point to our changing relationship with the earth and wild animals. For the Iroquois, the eagle is said to be a messenger to the creator. It is a protector of peace, while also on the look out for danger. Similarly, in Haida culture, the eagle is believed to be a messenger, and to have the closest relationship to the creator. Because he can fly so high, he is able to travel between the physical world and the spirit world. The eagle sends messages and prayers to the creator. The eagle is one of the two main Haida crests, and it is one of my totems. It symbolizes great strength, prestige, leadership, and also, peace. In many First Nation's cultures, the eagle feather plays an important role in culture and ceremony. An eagle feather is worn by people who have earned the privilege, as they are often bestowed for acts of courage and wisdom. Eagle feathers represent the strength and ability to speak honestly from the heart, without hurt or anger. In the sculpture that I present to you, the bird looks down upon the viewer as if to assert dominance and presence, and also to show off his power and beauty. At the same time, he offers his energy and spirit to anyone who will allow the connection and relationship into their consciousness. In our urbanity, we build structures to live and work in, and they have transformed the environment in such a way to reflect how our society is organized, but this does not mean that the spirit of animals and the connections we have to them, somehow go away. That relationship is still here and is available to anyone whenever they choose to connect with it. In fact, it is probably more relevant than ever to remember our connections to the earth and the animals, and open up to what they have to teach us. Perhaps we offer ourselves to the eagle as a prayer that he takes up with him to the creator.
Maple Leaf Trellis by Demakersvan (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Sculpture] Medium: Integrated
Maple Leaf Fence by Demakersvan (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Multidisciplinary] Medium: Integrated
Ebb and Flow by Belmore, Michael (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Sculpture] Medium: Integrated
Droplet by Kimiis inc. Studio (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Multidisciplinary] Medium: Integrated
A Scholars Rock Cut In Half To Reveal A Map Of Lake Ontario by Lum, Ken (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Sculpture] Medium: Integrated
Tropos by Te Liu, An (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Sculpture] Medium: Integrated
Monocle by Realities United (2019) — 219 Queen Street West, Toronto [Multidisciplinary] Medium: Integrated — The kinetic installation is a homage to French film director Jacques Tati (1907-1982) and his movie classic 'Mon Oncle' (1958), a choreographed comedy about man's confusion and adaption in the age of early modernism. Monocle" creates a playful catalyst to reflect on our struggles to live up to the ideal of a modern urban lifestyle, on the nature of technological advance, on the notion of surveillance and the relationship between private and public space" Artist's Statement
Sundial by Meckseper, Josephine (2019) — 10 York Street, Ten York Condos, Toronto [Sculpture] Medium: Integrated — This multi component, architecturally integrated artwork recognizes the unique opportunity to activate the streetscape through the creation of an urban vitrine which presents a city sized display case directly adjacent to the street. Through the three story glazed space of the lobby, interior is projected to exterior such that the entire artwork is presented as a multi-plane composition. "The immersive artwork transforms the glass box lobby into a living vitrine - an ecosystem of complex and meaningful social, object, and atmospheric relationships. Elements of the artwork evoke planetary constellations and surface structures, abstracted and realized in industrial materials referencing consumer, household objects." - Josephine Meckseper
Condo Man by Balkenhol, Stephan (2019) — 101 St. Clair Avenue West, One O One Condos, Toronto [Sculpture] Medium: Integrated
Climate Change by Pernu, Jaakko (2018) — 83 Peter Street, Toronto [Mural / Painting] Medium: Integrated
The Nostalgia of the Infinite (Le Taureau) by Mabry, Nathan (2017) — 51 East Liberty Street, Toronto [Sculpture] Medium: Integrated — A once a large metal monument and oversized abstraction of a bull, reminiscent of petroglyphs, historical outdoor public art and the drawings of Picasso. Assisting in becoming a truly surreal object, there are various cast birds painted in the same color at rest on the sculpture. The birds elicit ideas of technology and nature while playfully acknowledging public arts exposure to the elements. The sculpture stands in a regal position at the site. There is an overall celebratory aspect, almost flora quality. The historical aspects of King Liberty Village being a former industrial center is engaged by this work with the large metal construction being held together with exposed hardware, gussets and buttresses.
Aids Memorial by Fahn, Patrick (1991) — 519 Church Street, Barbara Hall Park, Toronto [Sculpture] Medium: Concrete, stainless steel plaques
Al Purdy by Dam de Nogales, Edwin / Veronica (2008) — Queens Park Circle North, Toronto [Sculpture] Medium: Bronze — One of Canada's most beloved poets was honoured with the unveiling of a statue in his likeness at an historic ceremony at Queen's Park. This is only the second full-length statue of a Canadian poet in Toronto. Mayor David Miller spoke to the crowd about the man who was often described as Canada's national poet. "Al Purdy is one of Canada's greatest poets," said Toronto Mayor David Miller. "This statue, donated to the people of Toronto by the friends of the Poet Laureate and placed in a prominent location in Queen's Park, is a fitting tribute to a person who enriched the lives of so many Canadians."
Al Waxman by Abernethy, Ruth (2002) — Wales Avenue and Augusta Avenue, Bellevue Park, Toronto [Sculpture] Medium: Bronze — The Al Waxman Memorial honours the life of Al Waxman, stage, film and television actor and director and one of Toronto's best known, most devoted ambassadors. He was an Adjunct Professor at York University, a recipient of the Queen's Silver Jubilee Medal, a member of the Order of Ontario and a member of the Order of Canada.
Alexander the Great by Zachariou, Dion (1990) — Danforth Avenue and Logan Avenue, Toronto [Sculpture] Medium: Bronze
Alexander Wood by Newbigging, Del (2005) — Church Street and Alexander Street, Toronto [Sculpture] Medium: Bronze, granite
Bike Plants by Eunson, Scott / Lovink, Marianne (2011) — various locations, Toronto [Multidisciplinary] Medium: weathering Corten steel
Bloor Parkette by Schelle, Susan / Gomes, Mark (1997) — Spadina Ave and Bloor Street, Toronto [Multidisciplinary] Medium: sandstone, limestone, stainless steel
Blue Fire by Revington, Dereck (1997) — Carlaw Avenue, and Gerrard Street, Toronto [Light Installation] Medium: aluminum
C.W. Jeffereys Memorial by Alison, Adrienne (2001) — York Mills Road and Yonge Street, York Mills Park, Toronto [Sculpture] Medium: bronze, granite
Canadian Airman's Memorial by Nemon, Oscar (1984) — University Avenue and Dundas Street, Toronto [Sculpture] Medium: bronze, masonry
Chinese Lions by Unknown (2004) — Gerrard Street East and Broadview Avenue, Toronto [Sculpture] Medium: marble
Circle of Trees by McGugan, Laurie (2000) — Lake Shore Boulevard East and Coxwell Avenue, Woodbine Park, Toronto [Architecture / Landscape] Medium: bronze, botanical (living Maple trees, landscaping materials)
Cloud Sensor by Yagi, Yoshio (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: masonry
The Dance by Sprachman, Robert (1998) — Yonge Street (at Mel Lastman Square) Empress Avenue and Norton Avenue, Toronto [Sculpture] Medium: painted steel
Dawes Crossing by Harding, Noel (2012) — Dawes Road and Victoria Park Avenue, Toronto [Architecture / Landscape] Medium: wood, mixed metal, glass, landscaping
Doors by Baird, Ron (1978) — Dupont Subway Station, Toronto [Architecture / Landscape] Medium: painted steel
Dr. Sun Yat-Sen by Rosenthal, Joseph (1984) — Riverdale Park East, Toronto [Sculpture] Medium: bronze, masonry
Dreamwork of the Whales by Maloff, Georganna / Ne Chi Zu Works (1980) — Little Norway Park, Toronto [Sculpture] Medium: wood
Earth and Sky by Roller, Peter (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: granite
Edward VII by Brock, Sir Thomas (1969) — Queens Park, Queen's Park Crescent East, Toronto [Sculpture] Medium: Bronze
Elevated Wetlands by Harding, Noel (1995) — Don Mills Road, Taylor Creek Park, Toronto [Multidisciplinary] Medium: mixed material — Elevated Wetlands is a solar-powered, functional sculpture by Toronto artist Noel Harding, which uses wetland plants and plastic waste to absorb volatile chemicals and filter metal contaminants from the Don River.
Empress Collonettes by Randy / Berenicci (1998) — 34 Parkview Avenue, Toronto [Architecture / Landscape] Medium: copper plate
Erratic Bolder by Doyle, Maura (2004) — Bloor Street West and Christie Street, Christie Pits Park, Toronto [Sculpture] Medium: granite
Eruption by Karlovs, Janis (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: granite
Evolution Unrolling by McCleod, James (2006) — King Street West and Crawford Street, Massey Harris Park, Toronto [Sculpture] Medium: stainless steel
Fallen Fire Fighters Memorial by VanderGaast, Yolanda (2000) — 339 Queens Quay Boulevard W, Toronto [Sculpture] Medium: bronze, masonry
Fibonacci Cadenza by Drava, Uga (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: granite
Fire and Water by Peteran, Gordon (1995) — Fire Station #33, Ward Island, Toronto [Sculpture] Medium: bronze, gold leaf
Flatiron Building by Besant, Derek (1980) — Berczy Park, Toronto [Mural / Painting] Medium: epoxy paints on aluminum panels
Forest Hill War Memorial by Page and Steele Architects (1980) — Eglinton Avenue and Vesta Drive, Toronto [Sculpture] Medium: masonry
Fowl Play by Burrows, Tom (1997) — Spadina Avenue and College Street, Toronto [Sculpture] Medium: aluminum
Frontier by Dickson, John (2009) — Bloor Street at West Toronto Rail Path, Toronto [Sculpture] Medium: galvanized steel — "Frontier" is made up of 4 large steel structures that are evenly distributed between Bloor Street West and Dundas Street West on the West Toronto Rail Path.
Garden of the Greek Gods by Cox, Elford Bradley (1979) — Canadian National Exhibition Grounds, Toronto [Sculpture] Medium: masonry — The Garden of the Greek Gods is a collection of 20 sculptures by renowned Canadian sculptor E.B. Cox (1914-2003). The limestone sculptures, created in the 1960s, depict figures from Greek mythology, including, Medusa, Orpheus, and Hercules. Celebrate the return of the sculpture garden to the public realm, at its beautiful new setting just east of the Rose Garden, south of Bandshell Park.
Gardiner East Dismantling by McKinnon, John (2003) — Lake Shore Boulevard and Coxwell Avenue, Toronto [Sculpture] Medium: Integrated
Garrison Cemetery Memorial Wall by Unknown (1970) — Garrison Road and Strachan Avenue, Toronto [Sculpture] Medium: masonry
Gateway Marker by Baird, Lynda / Baird, Ron (1995) — 5100 Yonge Street, Toronto [Sculpture] Medium: stainless steel, painted steel
Gateways by Chen, Millie / Quigley, Warren (1997) — Spadina Avenue and Dundas Street, Toronto [Sculpture] Medium: coloured fiberglass
George Faludy Place by de Pedery-Hunt, Dora (2006) — St. Mary Street and Bay Street, Toronto [Sculpture] Medium: limestone, bronze — George Faludy Place is located across the street from 25 St. Mary's St. where Mr. Faludy, one of Hungary's greatest poets, lived for much of his 22 years of self-imposed exile from Hungary. George Faludy Place is an initiative of the Toronto Legacy Project, which honors notable artists, scientists and thinkers who have enriched the life of Toronto, by embedding their names in the fabric of the city.
Greek Monument by Unknown (2000) — Durant Avenue, Roosevelt Avenue and Memorial Park Avenue, Memorial Park, Toronto [Sculpture] Medium: granite
Gwendolyn MacEwen Memorial by Reynolds, J.M. (2006) — St. Clair Avenue West , Walmer Road Parkette, Toronto [Sculpture] Medium: bronze, granite
The Hand of God by Milles, Carl (1975) — Scarborough Civic Centre, Toronto [Sculpture] Medium: bronze
The Harvester by Wyle, Florence (1984) — 276 St. Clair Avenue East, Loring-Wyle Parkette, Toronto [Sculpture] Medium: bronze, masonry
Canadian Society for Yad Vashem Holocaust Memorial Site by Raab, Ernest (1991) — 4169 Bathurst Street, Earl Bales Park, Toronto [Sculpture] Medium: bronze — The CSYV Holocaust Memorial Site is situated near the entrance to Earl Bales Park at 4169 Bathurst Street, in North York, Toronto. The site is adjacent to residential areas where thousands of Holocaust survivors rebuilt their lives in Canada after the war. The site was constructed in three phases over a period of 30 years and contains almost 5,000 names of victims and survivors of the Holocaust, the most extensive listing of any memorial site in Canada.
Humber River Bridge by Environmental Artworks Studio (Golden, Brad / Eichenberg, Lynne) (1997) — Humber River, Lake Ontario, Toronto [Architecture / Landscape] Medium: mixed metal, masonry
I Looked for Sarah Everywhere by Boyer, Gilbert (2001) — Jarvis Street and King Street East, St. James Park, Toronto [Sculpture] Medium: masonry, steel
In Asia:The East: Spring / Europe:The West: Autumn by Hlynsky, David / Yanover, Shirley (1997) — Spadina Avenue and Sullivan Street, Toronto [Sculpture] Medium: coloured fiberglass
Index/Ideal by Dykhuis, Peter (1989) — Queen Street West and Cowan Avenue, Toronto [Architecture / Landscape] Medium: bronze
Injured Workers Monument by Scott, John / Lo, Derek / Winkler, Lana (2001) — Front Street West, Simcoe Park, Toronto [Sculpture] Medium: granite, bronze
Inukshuk Sculpture by Qimirpik, Kellypalik (2002) — Lake Shore Boulevard West and Ontario Place Boulevard, Battery Park, Toronto [Sculpture] Medium: granite — The Inukshuk was chosen by City Council as the City of Toronto's legacy project to commemorate World Youth Day 2002 and the visit of Pope John Paul II to Toronto. An Inuit stone structure primarily found in the arctic landscape, the Inukshuk acts as a powerful symbol of safe harbour, guiding travellers on land and sea. The Toronto Inukshuk is located at Battery Park and is one of the largest of its kind in North America. The structure, made of approximately 50 tonnes of mountain rose granite, stands 30 feet high with an arm span of 15 feet.
Jack's Got Your Back: Layton Memorial by Pelletier, David (2013) — Harbourfront Square Park East, Toronto [Sculpture] Medium: bronze, masonry — This memorial to Jack Layton, who was an avid cyclist, depicts him riding on the back seat of a tandem bicycle. The front seat welcomes visitors to sit and have their photo taken "with Jack at their back."
Johnny Lombardi by Dam de Nogales, Edwin / Veronica (2004) — College Street and Grace Street, Toronto [Sculpture] Medium: bronze, concrete
Jose Rizal Memorial by Caede, F.B. (1998) — 4169 Bathurst Street, Earl Bales Park, Toronto [Sculpture] Medium: bronze, masonry
Katyn Memorial by Janowski, Tadeusz (1980) — Beaty Boulevard Park, Toronto [Sculpture] Medium: bronze, masonry
Kids Play by Wrigley, Bill (2006) — Sheppard Avenue and Leslie Street, Toronto [Mural / Painting] Medium: paint on concrete
La Tenrezza Of Mother and Child by Esposito, Elisa (1993) — 2700 Eglinton Avenue West, Toronto [Sculpture] Medium: masonry
Lakeshore Transportation History by Stanley, Stephen (1996) — Long Branch TTC loop, Toronto [Mural / Painting] Medium: painting
Larry Sefton Memorial by Markson, Jerome (1977) — Bay Street and Hagerman St, Toronto [Sculpture] Medium: Corten, masonry
Learn to Throw Your Voice by Miller, Bernie (1986) — 370 Queens Quay West, Toronto [Sculpture] Medium: steel, concrete
Lesya Urainka Monument by Chereshniovsky, Mykhailo (1975) — High Park, Toronto [Sculpture] Medium: bronze, masonry
The Line of Time by Hilton Moore, Marlene (1997) — 54 Montgomery Road, Toronto [Sculpture] Medium: bronze
Loring by Wyle, Florence (1984) — 276 St. Clair Avenue East, Loring-Wyle Parkette, Toronto [Sculpture] Medium: bronze, masonry
Margaret Fairley Memorial by Reddsell-Fediow, Pauline (1973) — Margaret Fairley Park, Toronto [Sculpture] Medium: bronze, masonry
Memory Banks by Leroux, John (1998) — Dewson, Crawford, Beatrice and Montrose Streets, Toronto [Architecture / Landscape] Medium: masonry,
Monument to Multiculturalism by Perilli, Francesco / Rico, Nino (1985) — Front Street and York Street, Union Station, Toronto [Sculpture] Medium: bronze, masonry
Natural Development by Machata, Peter (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: masonry
Northern Gateway by Goodman, Jeff (1994) — Yonge Street and Yonge Boulevard, Toronto [Sculpture] Medium: mixed metal, granite
Ode to the Sun by Schreefel, Rob (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: granite
Passage by Hilton Moore, Marlene (2002) — Kingston Road and Ravine Drive, Foot of Doris McCarthy Trail, Toronto [Sculpture] Medium: steel
Portuguese Monument by Unknown (1978) — High Park, Toronto [Sculpture] Medium: masonry
Procession by Roller, Peter (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: granite
Raoul Wallenberg Memorial by Raab, Ernest (1996) — 4169 Bathurst Street, Earl Bales Park, Toronto [Sculpture] Medium: bronze
Reaching for the Cloud by Morin, Jean-Pierre (2005) — 18 Yorkville Avenue, 18 Yorkville Condos, Toronto [Sculpture] Medium: aluminum, Corten
Reticulated Gambol by Giroux, Christian / Young, Daniel (2009) — Lee Centre Park, Toronto [Multidisciplinary] Medium: painted steel — Both a jungle gym and a contemporary artwork, Reticulated Gambol challenges the imagination of neighbourhood children just as its creation challenged the talents of acclaimed Canadian artists Christian Giroux and Daniel Young. This functional and interactive public artwork is made from standard CSA-certified playground equipment. Its symmetrical, blue steel square form sets it apart from the multi-coloured, asymmetrical arrangements found in a typical playground.
Return of the Magri-Stecchi by Edelstein, Morry / McLaren, Brian (1986) — Market Lane, Front Street and Jarvis Street, Toronto [Sculpture] Medium: mixed metal, masonry — Return of the Magri Stecchi commemorates Toronto's first public well, which was dug in 1823 near Market Lane Park, as well as the stocks that stood in Market Square until 1834.
Robert Gourlay by Alison, Adrienne (2004) — Jarvis Street and King Street East, St. James Park, Toronto [Sculpture] Medium: bronze, granite
Roman Column by Unknown (1967) — Nathan Phillips Square, City Hall, Toronto [Sculpture] Medium: Painted Steel — As the inscription on the marble tablet explains: This unique column was presented in 1957 to Mayor Nathan Phillips, Q.C., by the Hon. Umberto Tupini, Mayor of the City of Rome as a token of friendship between the Citizens of Rome and Toronto. The column is granite (lapis syonites) known to have been quarried in Egypt between 300 and 400 A.D. for a Roman building since destroyed. It was erected on this site with assistance of the Canadian Italian Business and Professional Men's Association of Toronto and accepted by Mayor William Dennison in 1967.
Simon Bolivar by Sorondo, Armando (1983) — Dundas Street West and Shaw Street, Toronto [Sculpture] Medium: bronze, masonry
Sir Casimir Gzowski Memorial by D'Wonnik, Richard / Dunbar, Fredrick (1968) — Sir Casimir Gzowski Park, Toronto [Sculpture] Medium: bronze, masonry
Sir Winston Churchill by Nemon, Oscar (1977) — Nathan Phillips Square, City Hall, Toronto [Sculpture] Medium: bronze, masonry — This three-metre high, rough textured bronze statue is also known as the Winston Churchill Memorial. Prior to the revitalization of Nathan Phillips Square, it stood at the southwest corner of the square, and now sits in the area to the northwest known as Sculpture Court. The statue was donated to the City of Toronto by the late Henry R. Jackman in 1977 and is made from the original mould of a work by Oscar Nemon that stands in the Members Lobby in the British House of Commons.
Social Theatre I - VI by Randy / Berenicci (1997) — Spadina Avenue and Queen Street West / King Street West and Front Street, Toronto [Sculpture] Medium: stainless steel
Spadina Line by Golden, Brad / Richards, Norman (1992) — Spadina Avenue and Dupont Street, Toronto [Light Installation] Medium: Corten, stainless steel, painted steel, bronze, light fixtures
Spirits of the Grotto by Jacob, Luis (2012) — Dufferin Railway Underpass, Queen Street West and Dufferin Street, Toronto [Architecture / Landscape] Medium: painted aluminum, glass mosaic — Spirits of the Grotto, by Luis Jacob, consists of 34 perforated-metal panels bearing colourful, eye-shaped mosaic designs that gaze down on passing cars, cyclists and pedestrians. Jacob, a long-time Parkdale resident, intended his open eye-shaped designs to evoke the presence of spirits who observe alertly and with neighbourly care.
Stone for Quiet Water by Wold, Knut (1994) — Scarborough Civic Centre, Toronto [Sculpture] Medium: granite
Stretching from Mind to Body by Mayer, Rosa (1993) — Queen Street East and McGee Street Jimmy Simpson Recreation Centre, Toronto [Mural / Painting] Medium: painting
Sun Dial, Toronto City Hall by Johnson, G.R. / Parker, John (1969) — Nathan Phillips Square, City Hall, Toronto [Sculpture] Medium: Bronze
Swell by Greenwood, Robin / Lovlin, Jarie / Philips, Carol (1997) — 25 Eleventh Street, Rotary Peace Park Pool, Toronto [Multidisciplinary] Medium: wood
The Swimmer by Reitzenstein, Reinhard (1997) — 54 Montgomery Road, Toronto [Sculpture] Medium: bronze
The Third Garden by Chen, Millie / Quigley, Warren (2001) — 1 Colonel Samuel Smith Drive, Lakeshore Grounds, Toronto [Sculpture] Medium: painted steel — The Third Garden, by artists Millie Chen and Warren Quigley, is a site-specific installation consisting of five cast iron seating forms, eight concrete pavers inlaid with cast bronze text, and landscaping. The couch forms are playful improvisations on a clichàassociated with psychiatric care. The text in the pavers is based on oral and recorded histories of the former Lakeshore Psychiatric Hospital facilities on the Lakeshore Grounds, a prominent landmark setting in Etobicoke for more than 100 years.
Three Way Disk No. 2 (The Archer) by Moore, Henry (1967) — Nathan Phillips Square, City Hall, Toronto [Sculpture] Medium: Bronze — The large abstract sculpture on Nathan Phillips Square in front of City Hall, usually known as "The Archer", was created by Henry Moore, one of the 20th century's most famous artists. In 1961 Viljo Revell, architect of Toronto's City Hall, approached Henry Moore to execute a sculpture for the civic square. Revell was acquainted with the artist and suggested that one of his works would complement the flowing lines of the building. The Archer was selected from a group of Moore's maquettes (small models). However, the proposed purchase of the work with public funds ($100,000) erupted into controversy and was defeated in council. Eventually Mayor Phil Givens raised the artist's fee with private money. Henry Moore was so moved by this gesture of support for the purchase of his sculpture that he donated more than 200 sculptures, drawings and graphics to the Art Gallery of Ontario. These pieces are now housed in the Henry Moore Sculpture Centre within the AGO.
Time and a Clock by Garnet, Eldon (1996) — Queen Street East and King Street East, Toronto [Architecture / Landscape] Medium: stainless steel, coloured concrete
Time Capsule, York by W.H. Smith Monuments (1997) — 2700 Eglinton Avenue West, Toronto [Sculpture] Medium: masonry
Time Track by Chen, Millie / Quigley, Warren (2000) — Sheppard Avenue and Yonge Street, Dempsey Park, Toronto [Sculpture] Medium: bronze
To Market, To Market /Home Again, Home Again by Hlynsky, David / Yanover, Shirley (1997) — Baldwin Street and Street Andrews Street, Toronto [Sculpture] Medium: aluminum, resin, steel
To Serve and Protect by Garnet, Eldon / Drysdale, Leslie (1988) — College Street and Bay Street Toronto Police Headquarters, Toronto [Sculpture] Medium: bronze, masonry, painted steel
Tribute to Peace and Friendship by Day, Peter / Pozel, Steven (1989) — St. Clair Avenue West , Walmer Road Parkette, Toronto [Sculpture] Medium: masonry
Twenty-one Points in Equilibrium by Sutherland, James (1973) — Scarborough Civic Centre, Toronto [Sculpture] Medium: aluminum
Uniform, Measure, Stack by Cruise, Stephen (1997) — Spadina Avenue and Richmond Street West, Toronto [Sculpture] Medium: bronze, coloured concrete
untitled (Bell) by Muscat, Francis (1994) — 110 11th Street, Toronto Public Library, New Toronto Branch, Toronto [Sculpture] Medium: bronze, masonry
The Vessel by Sandler, Ilan (2011) — Lowther Avenue and Bedford Road, Taddle Creek Park, Toronto [Sculpture] Medium: stainless steel rod, water
Victory Peace by McEwen, John (1998) — Lake Shore Boulevard West and Strachan Avenue, Coronation Park, Toronto [Sculpture] Medium: bronze, masonry
Watertable by Steele, Lisa / Tomczak, Kim (2009) — Fort York at Fort York Boulevard (in storage), Toronto [Light Installation] Medium: light, sound — Watertable is the first multimedia work by internationally respected Toronto art duo Lisa Steele and Kim Tomczak, who envisioned and created this multimedia sculpture to conceptually and physically interact with the Gardiner Expressway, Fort York and the lakeshore. Consisting of long sculptural strings of LED lights with speakers and audio and lighting controls, WATERTABLE looks like undulating waves appearing to float under the Gardiner Expressway. The softly glowing lights begin their crest from the southern edge and move towards the north side, directing the public's gaze towards Fort York. The sound of recorded waves subtly echo throughout the area, triggering the public to remember that this location was once the water's edge.
William Berczy Family Sculpture by Lutkenhaus-Lackey, Almuth (1982) — Berczy Park, Toronto [Sculpture] Medium: bronze
Wyle by Loring, Frances (1984) — 276 St. Clair Avenue East, Loring-Wyle Parkette, Toronto [Sculpture] Medium: bronze, masonry
120 Mirrors by Public Studio / Friz, Anna (2017) — Lee Lifeson Park, Toronto [Sculpture] Medium: painted steel, wood
Limelight by Rafff, Paul (2017) — Lee Lifeson Park, Toronto [Sculpture] Medium: ceramic
Amsterdam Park Fountain by Unknown (1928) — St. Clair Avenue West and Avenue Road, Amsterdam Square, Toronto [Multidisciplinary] Medium: terra cotta
Artifacts of Memory by Garnet, Eldon (2016) — 5 St. Joseph Street, Five Condos, Toronto [Sculpture] Medium: aluminum — A large-scale public sculpture by multidisciplinary Toronto artist Eldon Garnet, Artifacts of Memory consists of five lines of text on interconnected metal girders. Located at 5 St. Joseph St. (at Yonge Street), the work was donated to the City by Graywood Developments and Mod Developments.
Bayview Underpass by Singleton, G.A. (1961) — Bayview Avenue and Lawrence Avenue, Toronto [Architecture / Landscape] Medium: concrete, glazed tile
Boney Bus by McKinnon, John (1997) — Sheppard West Subway Station, Toronto [Sculpture] Medium: stainless steel, granite
Butterfly by Baird, Ron (1966) — 47 Station Road, Mimico Centennial Library,, Toronto [Sculpture] Medium: painted steel
Canadian Volunteers War Memorial by Reid, Robert (1870) — Queen's Park Cres West and Wellesley Street W, Toronto [Sculpture] Medium: masonry
Cenotaph, Toronto by Ferguson, W.M. / Pomphrey, T.C. (1924) — Queen Street West and Bay Street, Old City Hall Square, Toronto [Sculpture] Medium: masonry
Cenotaph, Weston by Shaw, Tiny (1959) — Weston Rd and Little Avenue Little Avenue Memorial Park (North End), Toronto [Sculpture] Medium: masonry, bronze
Cenotaph, York by W.H. Smith Monuments (unknown) — 2700 Eglinton Avenue West, Toronto [Sculpture] Medium: masonry
Chinese Railroad Workers Memorial by Garnet, Eldon / Lebouthillier, Francis (1989) — Blue Jays Way and Navy Wharf Court, Toronto [Sculpture] Medium: bronze, wood, hemp rope
Dr. William D. Young Memorial by Klein, Maurice / Florence, Kyle / Cage, F.M. (1920) — Lee Avenue and Queen Street East, Toronto [Sculpture] Medium: masonry, bronze
East York Cenotaph by W.H. Smith Monuments (1948) — 850 Coxwell Avenue East York Civic Centre, Toronto [Sculpture] Medium: masonry — The East York Cenotaph commemorates the sacrifices made by Canadian Peacekeepers. Since 1948, almost 125,000 Canadians have participated in United Nation Peacekeeping Missions. This is unsurpassed by any nation. To date, 120 Canadians have lost their lives while on peacekeeping missions.
Echo by Barkhouse, Mary-Anne / Belmore, Michael (2014) — Queen Street East and Carroll Street, Joel Weeks Park, Toronto [Sculpture] Medium: Bronze, Masonry
Etobicoke Cenotaph by Unknown (1968) — Etobicoke Civic Center, Toronto [Sculpture] Medium: limestone, with clock face, metal cross and plaque
Faces of Regent Park by Bergeron, Dan (2015) — Dundas Street East and Sumach Street, Regent Park, Toronto [Sculpture] Medium: glass, steel, concrete — This permanent public artwork was commissioned by the City of Toronto. The twelve photo-based, mixed-media portraits depict residents from the newly revitalized neighbourhood, which has been transformed from a strictly social housing only neighbourhood, to a mixed use development with an even split of social housing and market rate units. The six double-sided laminated glass panels are each nine feet high by six feet wide and two-and-a-half inches thick and weigh 2000 pounds. Aesthetically the work combines the familiarity of the human face with the distressed surfaces of aged architecture and infrastructure found in the urban environment. The graffiti tags have been meticulously rendered from actual markings found in the neighbourhood and act as representational signifiers of human presence on our streets, while the patterned effects symbolize the energy of human movement that give our cities their kinetic life. The vibrant and contrasting colours found within the backgrounds create a juxtaposition that helps to frame the black and white portraits, while simultaneously presenting the notion that we all stem from the same colourful tree. The twelve subjects were not easy to pick. As a cross section, they represent everyone who has, does or will live in Regent Park. Their faces are the welcome home to residents, the hello to local and international visitors to the neighbourhood, and the ever-present gatekeepers who will keep watch over Regent Park and remind us that it is through our differences that we gain strength and through our personal relationships that we create community.
Flag Field by Thorpe, Josh (2016) — Maple Claire Park, Toronto [Sculpture] Medium: steel, fabric — Arranged in two clusters, Flag Field consists of 14 flags on flag poles, ranging from 8 to 15 metres high, which display stylized graphic drawings of abstract patterns, animals and landscape elements.
Fort Rouille Monument by Unknown (1878) — Canadian National Exhibition Grounds, Toronto [Sculpture] Medium: masonry
Forty Eighth Highlanders Regimental Memorial by Wilson Halenby, Eric / Mathers, Alvan (1923) — Avenue Road and Queens Park, Toronto [Sculpture] Medium: masonry, bronze
Galaxy by Gladstone, Gerald (1964) — Burnhamthorpe Road and The West Mall, Old Etobicoke City Hall, Toronto [Sculpture] Medium: aluminum
Garden of Future Follies by Hadley + Maxwell (2016) — Bayview Avenue and Front Street East, Toronto [Sculpture] Medium: bronze — Hadley+Maxwell's first permanent public artwork brings the past to life by fragmenting and rearranging parts of monuments, sculptures and architecture from all over the City of Toronto. Based on the idea of the folly - a fanciful and purely decorative structure popular in 18th and 19th century romantic gardens and landscapes-this project reimagines a 'garden of follies' incorporating elements from monuments that are normally high above the street and physically out of reach, bringing them down to street level where they can be celebrated and enjoyed. The work builds a collection of unusual characters that creates a sense of play, inviting us to explore and interact with our city's history.
The Hippy by Koochin, William (1967) — High Park, Toronto [Sculpture] Medium: masonry
Howard Monument by Howard, John G. (1873) — High Park, Toronto [Sculpture] Medium: masonry
Jean Sibelius Monument by Valdemar Aaltonen, Waino (1959) — 50 Kendal Avenue, Toronto [Sculpture] Medium: bronze, masonry
Jeffrey Baldwin Memorial Statue by Abernethy, Ruth (2016) — 150 Greenwood Avenue, Greenwood Park, Toronto [Sculpture] Medium: bronze — This work was conceived as a way to recognize the life of Jeffrey Baldwin, a young boy who lived close to Greenwood Park and who passed away under tragic circumstances in 2002.
K'san Village House Posts by Tribe, Gitxsan (1979) — Spadina Subway Station, Toronto [Sculpture] Medium: wood
Lion Monument by Loring, Frances / W.I. Somerville / Wyle, Florence (1939) — Lake Shore Boulevard West and Windermere Avenue, Toronto [Sculpture] Medium: masonry
Long Branch Cenotaph by Unknown (unknown) — Long Branch Avenue and Park Boulevard, Toronto [Sculpture] Medium: masonry
Luminous Veil by Revington, Dereck (2015) — Prince Edward Viaduct, Toronto [Light Installation] Medium: lighting — The Luminous Veil, which is part of the safety barrier on top of the bridge, was installed on the Prince Edward Viaduct in 2003 following a national design competition. Dereck Revington's design had two intentions:to help prevent suicides and to establish the viaduct as a public work of art for the city through a unique lighting concept. The lighting installation uses an LED control system to process real-time data from a weather sensor located on top of the Luminous Veil. This sensor triggers changes to the light, rhythm and tone of the light display in response to wind direction and velocity as well as ambient temperature.
Mackenzie Panels by G.W. Hahn, Jeffrey (1938) — 82 Bond Street, Mackenzie House, Toronto [Sculpture] Medium: masonry
Man Above Matter by Price, Arthur (1965) — Canadian National Exhibition Grounds, Better Living Building, Toronto [Sculpture] Medium: bronze
Mid Summer's Night Dream by Couzijn, Wessel (1967) — High Park, Toronto [Sculpture] Medium: masonry, plated steel
Mimico War Memorial by Unknown (1930) — Lake Shore Boulevard West and Queens Avenue West, Vimy Ridge Parkette, Toronto [Sculpture] Medium: masonry bronze
Monument to the Second Century by Baird, Ron (1967) — 580 Finch Avenue West, Toronto [Sculpture] Medium: painted steel
No Shoes by Di Suvero, Mark (1967) — Mill Street and Bayview Avenue, Corktown Common, Toronto [Sculpture] Medium: painted steel — No Shoes was commissioned for the International Sculpture Symposium in Toronto in 1967. In 1967, di Suvero was a rising star in the international art scene. He was part of a group of artists invited to participate in the Toronto International Sculpture Symposium - an event held to celebrate Canada's centennial. He created two sculptures in High Park: No Shoes, situated by the woods at the bottom of a hill and the towering Flower Power, which rested at the top of the same hill. After a lengthy restoration overseen by di Suvero himself, No Shoes was installed in Corktown Common in June 2013.
November's Pyramid by Schottlander, Bernard (1967) — High Park, Toronto [Sculpture] Medium: painted steel
Nyctophilia by Giroux, Christian / Young, Daniel (2014) — Weston Road and Dennis Avenue, Toronto [Light Installation] Medium: lighting, steel — Nyctophilia creates a public space on a neglected city corner, using part of the language of our basic infrastructure: street lamps. Speaking to Toronto's chaotic landscape of overhead electrical wires and dense concentration of services, this project uses concrete hydro poles and 36 computer controlled, multi-colour LED street lamps to create a cloud of illumination. With over 20 distinct randomized lighting programs, the work assumes a different personality each night, redefining the character of the street corner through colour. The artists named it Nyctophilia, which refers to a love of the night. Composed of a series of hydro poles, the art work resembles a grove of illuminated street lights, evoking the area's industrial heritage and natural environment.
The Painter's Eye by Satok, Ron (1959) — Canadian National Exhibition Grounds, Toronto [Mural / Painting] Medium: glass — This artwork was originally located on the east exterior wall of the Medieval Times building until it was moved to its current location in 2011.
Peace Through Valour by Lum, Ken (2016) — Nathan Phillips Square, City Hall, Toronto [Sculpture] Medium: bronze — This monument honours the Canadian soldiers who fought in the Italian Campaign in WWII. The Peace Through Valour Monument presents the 3D printed bronze topographical map of the town of Ortona, where Canadian soldiers fought the fiercest battle in the Italian Campaign, and achieved one of the greatest victories in WWII. Ortona was a beautiful medieval town on the Adriatic Sea that was reduced to ruin upon the conclusion of the campaign. The renowned Canadian artist Charles Comfort made several paintings of the destroyed Ortona, and it is from these paintings that the artist Ken Lum drew his inspiration and ideas. At each of the four corners of the map a bronze statue of a Canadian soldier stands in vigil, as if contemplating the cost of freedom regained in war. The Peace Through Valour Monument was donated to the City of Toronto by Villa Charities and the Italian Community.
Peeled Pavement by Anholt, Jill (2015) — Mill Street and Bayview Avenue, Toronto [Sculpture] Medium: concrete — Peeled Pavement, created by Vancouver-based artist Jill Anholt in collaboration with The Planning Partnership, consists of four bronze and cast-glass elements. Located in the West Don Lands beside the Distillery District, the work punctuates the side walk, revealing an underside of industrial artifacts lit from below. Linking this rich and complex industrial history to the renewal of life and growth envisioned for the community of the future, Peeled Pavement captures the energies of the working city.
Peter Pan Statue by Frampton, Sir George James (1929) — Avenue Road and St. Clair Avenue West, Toronto [Sculpture] Medium: bronze
Places in a Book by Cruise, Stephen (1997) — Spadina Avenue and Sussex Avenue, Toronto [Sculpture] Medium: bronze
Princes' Gates by Chapman, Alfred (1927) — Canadian National Exhibition Grounds, Toronto [Sculpture] Medium: masonry
R.H. Saunders Memorial by Hahn, Emanuel (1956) — University Avenue and College Street, Toronto [Sculpture] Medium: aluminum masonry
Robert Burns Memorial by Watson Stevenson, David (1902) — Carlton Street and Jarvis Street, Allan Gardens, Toronto [Sculpture] Medium: bronze, masonry
Rotary Fountain by Unknown (1912) — High Park, Toronto [Sculpture] Medium: masonry
Scarborough War Memorial by Unknown (1921) — Kingston Road and Danforth Avenue, Toronto [Sculpture] Medium: masonry, bronze
Secor Cairn by Unknown (1960) — Lawrence Avenue East and Markham Road, Toronto [Sculpture] Medium: masonry
Shrine Peace Memorial by Keck, Charles (1930) — Exhibition Place, Canadian National Exhibition Grounds, Toronto [Sculpture] Medium: bronze, masonry
Sir Adam Beck by Hahn, Emanuel (1933) — University Avenue and Queen Street, Toronto [Sculpture] Medium: bronze, masonry
Site Specific by Eunson, Scott / Lovink, Marianne (2015) — Sumach Street and Eastern Ave, Toronto [Sculpture] Medium: steel, concrete — Site Specific, by Toronto- and Philidelphia-based artist team Scott Eunson and Marianne Lovink, uses the 40 metre long linear site to portray, in abstract pattern and form, a deep history of human existence in the immediate area, with an expanded focus on the era of Thornton and Lucie Blackburn, whose home was on the site of the adjacent Inglenook Secondary School. The artists worked with historian Karolyn Smart Frost and the students of the school in the making of the artwork and a related student exhibition. Site Specific brings visual poetry about the human stories that make a place.
Sons of England War Memorial by Adamson, Charles (1923) — University Avenue and Elm Street, Toronto [Sculpture] Medium: bronze, masonry
South African War Memorial by Seymour Allward , Walter (1910) — University Avenue and Queen Street, Toronto [Sculpture] Medium: bronze, masonry
Tabor Hill by Unknown (1960) — Lawrence Avenue and Bellamy Road, Toronto [Sculpture] Medium: masonry, bronze
The Temple by Hubert, Dalwood (1967) — High Park, Toronto [Sculpture] Medium: stainless steel
Tenth Anniversary of Hungarian Uprising 1956 by Tìgyesi, Victor (1966) — Lake Shore Boulevard West and Parkside Drive, Budapest Park, Toronto [Sculpture] Medium: bronze
Three Disks by Kadishman, Menashe (1967) — High Park, Toronto [Sculpture] Medium: painted steel
Three Points Where Two Lines Meet by Giroux, Christian / Young, Daniel (2018) — Bathurst and Vaughan, Toronto [Sculpture] Medium: aluminum, LEDs — Taking its form from the traffic island on which it sits, this artwork produces a new urban room by combining a multicoloured truss structure, the triangular plot it encloses, and an encircling sidewalk that acts as a podium and plinth. Located between the converging energies of uptown and downtown, the structure densifies an intersection already clotted with utilities, and challenges established forms of urbanism and spatial representation in Toronto.
Untitled by Wyn Wood, Elizabeth (1967) — Yonge Street and Mill Street, York Mills Park, Toronto [Sculpture] Medium: bronze
Untitled (Toronto Lamp Posts) by Kawamata, Tadashi (2015) — Tannery Rd and Front Street East, Toronto [Sculpture] Medium: lighting, steel — Tadashi Kawamata's Untitled (Toronto Lamp Posts) is a twelve-metre-high tower that contrasts with the orthogonal geometry of buildings, street lines and the efficiently organized public space of the new Front Street in West Don Lands. The sculpture, which invites pedestrians into its centre, is an accumulation of lampposts that appear to hold themselves together as mikado sticks just before they fall. At night, the lamps are lit with energy-efficient bulbs, creating a bright internal volume.
War Memorial by Unknown (1946) — Keele Street and Glenlake Avenue, Lithuania Park, Toronto [Sculpture] Medium: masonry
Water Guardians by Marman, Jennifer / Borins, Daniel / Khamsi, James (FIRM a.d.) (2015) — Tannery Rd and Front Street East, Toronto [Sculpture] Medium: painted steel, painted concrete — The Water Guardians is an integrated artwork, landscape design and play project. It depicts three towering abstract figures, keeping watch over into a stylized river made of recycled rubberized play surface, which flows underneath them. The riverway runs on the same axis as Front Street (east to west within the artwork site) and is punctuated by green mounds of rubberized play surface.
Young Girl by Wyle, Florence (1938) — 276 St. Clair Avenue East, Loring-Wyle Parkette, Toronto [Sculpture] Medium: bronze, masonry
Zen West by Eloul, Kosso (1980) — Bay Street and St. Joseph Street, Toronto [Sculpture] Medium: stainless steel
War of 1812 Memorial by Seymour Allward , Walter (1906) — Portland Street and Niagara Street, Toronto [Sculpture] Medium: bronze, masonry
Edward Hanlan by Hahn, Emanuel (1926) — Hanlan's Point, Toronto Island, Toronto [Sculpture] Medium: bronze, masonry
Mirage by Raff, Paul (2012) — 29 Lower River Street, Underpass Park, Toronto [Sculpture] Medium: Integrated — This installation of 57 octagonal mirror-polished stainless steel shapes applied to the underside of the Richmond/Adelaide overpasses draws inspiration from a mirage: an optical illusion created by atmospheric conditions. Each of the panels is slightly different in size and spacing to create a subtle sense of movement as their mirror polished surfaces bounce light around the space.
Robert Raikes by Brock, Sir Thomas (1930) — College Street and Queen's Park Crescent East, Toronto [Sculpture] Medium: bronze, masonry
Pylon by Gladstone, Gerald (1960) — Memorial Park Avenue and Durant Avenue, Memorial Park, Toronto [Sculpture] Medium: concrete, bronze
Light Showers by Anholt, Jill (2011) — Sherbourne Street and Queens Quay East, Sherbourne Common, Toronto [Multidisciplinary] Medium: mixed metal, water — The three components of Light Showers are large-scale functional sculptures, which celebrate the collection and purification of a new community's rainwater and transform infrastructure into art. The series of works help to create a new gateway between Toronto and its waterfront whilst playing a crucial role in filtering and oxygenating stormwater from the entire district.
OKTA by Bates / Moffat (2014) — Bastion Street and Fort York Boulevard., Toronto [Sculpture] Medium: painted concrete — OKTA is an installation where multiple points of sound are distributed across the artwork site. A sensor aimed at the sky reads current cloud cover, which determines the sounds that are released across the installation. Just as clouds appear, change and disappear across the sky, so too will sounds - shifting, changing and ephemeral - move across the site.
Don't Hate the Player by McClelland, Niall (2016) — 30 British Columbia Rd, Toronto [Sculpture] Medium: Integrated
Runaway Forest by Pernu, Jaakko (2015) — 224 King Street West, Toronto [Sculpture] Medium: Integrated
Humber Molecule Trees by Marman, Jennifer / Borins, Daniel (2017) — 1235 Wilson Ave, Toronto [Sculpture] Medium: Integrated
Primrose by MacLeod, Myfanwy (2019) — Bay Street and St. Joseph Street, Toronto [Sculpture] Medium: bronze — Primrose is based, in part, on the story of a baby donkey who was born prematurely. Thanks to vets who fitted her with a pair of pink casts, Primrose was able to walk. This story embodies the phenomenon of heart-warming and inspirational news reports about animals. But the little donkey is more than just a way to end the news day on an upbeat note, she is also a creature deeply embedded in myth and folklore. In the West, the donkey has often been used to symbolically represent notions of service, suffering, humility, and peace. Primrose is part of a trilogy of monumental animal sculptures by MacLeod, along with The Birds (2010), and The Lady (2017), which draws on the symbolic language of animals in Western Christian art and literature.
Mechanisms for Suspending Coloured Shapes by Lexier, Micah (2020) — Lower Don Trail, Toronto [Sculpture] Medium: Integrated — Nine metal sculptures, positioned along the trail, lift coloured shapes high in the air. This artwork places scribbles of intense color within the natural landscape, creating moments of surprise and discovery. Playful and open-ended, the artwork shifts with the seasons, becoming increasingly visible as the trees shed their leaves.
Artifact (Guard with Balloon Dog) by Banksy (2017) — 1 York Street, PATH, Toronto [Sculpture] Medium: Integrated
Speculum by Chou, Johnson / Hayward, Laura (2017) — 1 York Street, PATH, Toronto [Sculpture] Medium: Integrated
Infinite Energy by Mori, Mariko (2018) — 1 York St. lobby, Toronto [Sculpture] Medium: Integrated
Untitled by Priest, Margaret / Stables, Frasier (2005) — Bremner and Simcoe St. (Infinity Condominiums), Toronto [Architecture / Landscape] — This piece goes around the corner along Bremner turning onto Simcoe. The ceiling lighting and the floor markings, as well as
scattered symbols on the pillars.
Groundswell at Downsview Park by Michael Singer Studio (2019) — Downsview Park, Toronto [Sculpture] Medium: Cast and sculpted aluminum, sculpted precast concrete, plantings, and low voltage lighting and solar system — Groundswell at Downsview Park is an integrated work of art by Artist Michael Singer embedded at several locations within the Stanley Greene Neighborhood of Downsview Park in Toronto, Ontario. Re-imagined by Canada Lands Company, Downsview Park is internationally recognized as one of the largest and most significant repurposing of post industrial land, originally marked by the 1999 international design competition won by Bruce Mau and Rem Koolhaas. Downsview Park is home to both open spaces and a multitude of metropolitan level public amenities, and will be ringed by newly developed residential neighborhoods and employment centers. Following a public art masterplan prepared by Andrew Davies Public Art Consulting, Groundswell constitutes the public art component of Stanley Greene, the first residential neighborhood to be built as part of the overall Downsview Park repurposing effort. Groundswell is based on the seasonal interactions of earth and water, the curious swelling of the bedrock underlying Toronto, and the upwelling and interweaving of cultures in Toronto as a whole. "Groundswell: Southgate" is comprised of several interrelated elements including sculpted benches, custom paving, and a sculpted retaining wall all created as if emerging from the ground; a distinct sculpture - Southgate Marker 2018 - forms the centerpiece of this area. The sculpture is comprised of interwoven metal components which support the growth of vines. The sculpted metal components blend a range of abstracted patterns that subtly reference textiles from some of the numerous cultures that live in the surrounding area. This contemporary filigree of intermixing patterns and textures with the sculpture's overall form and climbing vines is symbolic of both the mingling of diversity and it's rooting in a place. The reflection of sunlight and the complexity of shadows within and around the piece will vary over the course of each day and through the seasons, adding another layer of interplay. Counterpart to the cultural groundswell, the project plays off of the documented swelling of Toronto's shale bedrock as well as some of the minerals found in the region. Sculpted slab benches and walls rise from the ground as if through the swelling of the earth, their immense weight supported by an obscured base. Sculpted benches, a sculpted low retaining wall, and paving incorporate various patterns based on mineral formations from the region. These reliefs, such as one based on fluorite, are cast into the sculpted concrete pieces with the intention of surfacing and revealing otherwise buried complex natural formations. In this way, the swelling of the ground exposes these patterns and intermingles them with the impressions of the metal sculpture. "Groundswell: Southgate" is complimented by Groundswell: Westgate Columns, a series of sculptural columns at the neighborhood entrance. Westgate Columns includes eight volumetric sculpted columns set within a tree lined vegetated traffic median. Detailing at the column faces create a sense of layering and uncovering through the use of darkened voids within. At night the column faces glow, and the detailing create a visual layering that changes as one moves along the roadway or sidewalk. The columns support the growth of trained vines. "Groundswell: Rainwalk Benches" is a series of sculpted benches set within the neighborhood park rain garden. These relate to and link back to Groundswell: Southgate. As part of a 'mentee' program initiated and administered by Andrew Davies Public Art Consulting, local students provided the Artist with background research material and images related to their own personal topics of interest pertaining to the area and site. These materials formed some of the basis for the patterns and textures developed by the Artist for Groundswell.
Drift by Cesta, Carlo (2014) — Sloping Sky Mews and Grand Magazine Street, Toronto [Architecture / Landscape] Medium: Jet cut aluminum with powder coated finish — The repeating patterns refer to compass points, stars and navigation which recall methods used by mariners seeking safe harbour. The patterns accentuate the play of light and shadow on the building, and this subtle movement evokes the presence of nearby Lake Ontario -- tying the architecture to the fleeting passage of boats and people.
Stargate by Blue Republic / Passakas, Anna / Kudlinski, Radoslaw (2020) — 150 and 155 Redpath, Toronto [Sculpture] Medium: Painted Bronze & Painted Aluminum — Emerging from two portals at 150 and 155 Redpath, this multi-component artwork, titled 'STARGATE', animates the neighbourhood with a crew of intergalactic characters in varying states of materialization, transforming a busy and populated corner of Canada's largest city into a window of outer space, Embodying Toronto's energy and diversity, STARGATE's brightly coloured protagonists remind us of our own feelings of arriving at a destination for the first time. Welcome their vibrant looks, enjoy their presence. Home at last.'
Urban Fabric by Widgery, Catherine (2020) — 454 Yonge Street, Toronto [Sculpture] Medium: Dichroic Glass in Aluminum Frame — Urban Fabric is inspired by the architecture of the building, the grid of glass and steel reminiscent of woven fabric. In repeated fragments, dichroic glass panels reflect the surroundings, weaving reflections of the city environment.
Warm By Night by Gìlner, Adrian (2020) — 17 and 19 Bathurst Street, Toronto [Light Installation] Medium: Programmed LED Lighting — Continuation of the rooftop lighting program that has been implemented over the past 18 years, throughout Concord CityPlace. This artwork was intended to create a distinct nighttime identity for the neighbourhood and to provide a sense of comfort and community. The program is visible from multiple viewpoints around Toronto and from the lake. It has served as a model which is now being taken up by many other developers around the city.
Dreaming by Plensa, Jaume (2020) — 100 Adelaide Street West, Toronto [Sculpture] Medium: Polyester Resin, Marble Dust, Steel Internal Structure — Dreaming (2017), ignites community and shared experiences that captivate Toronto's Financial District - where ideas are encouraged, and pedestrians look to listen in unison. At first glance, the large and powerful, white sculpture represents a portrait of a subdued young girl with closed eyes, 'The Key of the piece is the soul of the piece' focused on the interior of the earth and the souls of the people. The head is the most important part of our body is because it's the palace of dreams, the palace of wisdom, the palace of our more important questions. And that head for me, sits like a beautiful box in where we keep the most important secrets, the most important dreams, the most important invisible things in our life- What is Beauty? Everyone has the capacity to feel it. And I guess it's not directed to one or another culture, one or another colour of skin, one or another religion. No, beauty is beauty', states Plensa. Created with polyester resin and marble dust, this sculpture situated over eight meters high enhances the architectural narrative of Oxford's dynamic buildings; Plensa notes that 'It's the biggest piece I ever did as a single object - I've never done a piece as a single piece like this.' Plensa's public works create spaces for inner-reflection amidst the bustle of everyday life and dissolve boundaries, opening up community interaction. Plensa incorporates human connection, silence, self-identification and light into each of his unique works, bringing humanity to look inwards at their own beauty and become closer to one-another than ever before: 'I still remember Brancusi was talking about creating. And he said something probably very beautiful. He said, the importance is not to do. The importance is to feel the capacity to do it. And when you have that feeling, you create as a God, you order as a general, and you work as a slave. And I think that is key for the artist, no? This amazing energy when you feel that you are with the capacity to do it. And then you must do it' - Jaume Plensa. JAUME PLENSA Internationally celebrated Spanish artist Jaume Plensa (b. 1955) is one of the world's foremost sculptors working in the public realm with celebrated projects spanning the globe in such cities as Calgary, Chicago, San Diego, Montreal, London, Paris, Dubai, Bangkok, Shanghai, and Tokyo. Over the past 35 years the artist has produced a multifaceted body of work creating sculpture that speaks to the capacity and beauty of humanity.
Shea's Victoria by Harvey, Katharine (2020) — 25 Richmond Street East and 20-26 Lombard Street, Toronto [Mural / Painting] Medium: Integrated — Shea's Victoria features 420 square feet of hand-painted glass to be installed at the base of new condominium towers at the corner of Victoria and Richmond streets. The artist designed colourful brushstrokes that are based on blueprints from the Beaux-Arts vaudeville theatre that once stood on the site over a century ago. The staggered repetitions of patterns reference the first 'moving pictures', and their luminous appearance is also a nod to filmic celluloid.
Futurism by Kasten, Barbara (2020) — 88 Queen Street East, Toronto [Multidisciplinary] Medium: Direct to glass printing — The iconic forms portrayed in my proposed mural, Futurism, are structures that have been used in architecture throughout history. I chose these elements to reflect the historic character of the neighborhood and it's evolution from building with brick and mortar to steel and glass. The image is an eclectic 'skyscape,' heralding the mix of the city's classic buildings with mid-century and contemporary additions in this important historic area in the heart of downtown Toronto. My research into the fabrication process for painted glass led me to London born Rebecca Salisbury James, who revitalized reverse glass painting while living in Taos, New Mexico from the 1930s through the 50s. She challenged traditional painting as she worked alongside a predominantly male society of artists. I admire her adventurous spirit and importance in reviving a quotidian craft. Futurism updates James's reverse painting process. The process challenges the traditional photograph that is normally printed on light sensitive paper. The image is based on a black and white photograph of archetypal models that I constructed to photograph. Each of the two colors of the composition is digitally printed on a series of fourteen (14) individual large glass plates that abut each other. The iconic forms portrayed in my proposed mural, Futurism, are structures that have been used in architecture throughout history. I chose these elements to reflect the historic character of the neighborhood and it's evolution from building with brick and mortar to steel and glass. The image is an eclectic 'skyscape,' heralding the mix of the city's classic buildings with mid-century and contemporary additions in this important historic area in the heart of downtown Toronto.
Untitled by de Beer, Sue (2020) — 6 Jackes Avenue, Toronto [Sculpture] Medium: Stainless steel — 6 Jackes previously served as the headquarters of CHUM Radio. Historical photos taken of Yonge Street in 1970 show a neighborhood populated with large-scale signs at commercial storefronts, specifically at local record stores. De Beer's sculpture recalls this historical signage and the radio station's visual identity from the same time period. It inscribes a mirror-polished stainless steel disk with a series of black concentric rings that create perceptual effects and a sense of visual play, reflecting the people and surroundings of the neighborhood
Garrison Creek Lotuses by Verhoeven Twins (2021) — 500 Lake Shore Boulevard West, Toronto [Sculpture] Medium: Powder coated steel
Cracked Ice by Lum, Ken (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Sculpture] Medium: Glass and Steel — Cracked Ice, situated at the edge of the park makes a cheeky reference back to the water themes expressed in many of the artworks in the park. In this instance, it also refers to the idea of screens as an architectural device.
Ebb and Flow by Belmore, Michael (2019) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Sculpture] Medium: Glass and Steel — An art sign marks one of the entry features at the south side of the park. This is based on a drawing showing the movement of the water flow. Art signs are useful in wayfinding for visitors also making a subtle yet elegant art statement within the park.
Exported Floras by Poussin, Pierre (2016) — 88 Davenport Road, Toronto [Sculpture] Medium: Laser-cut Steel and LEDs, 24.5m W x 4.2m H x 0.2m D — Located on Toronto's Davenport Road at Bay Street, Exported Floras was inspired by Davenport's rich history as one of Canada's oldest trading routes. Exported Floras' imagery is composed of three indigenous flowers which were all exported to Europe during Canada's early colonization period.
Zig Zag by McClelland, Niall (2018) — 70 Queens Wharf Road, Toronto [Mural / Painting] Medium: Exterior latex paint, flat bar, + aluminum 3-D panels — This work uses its immediate environment as jumping off point to create a large geometric abstraction, filtering and reflecting the glass towers and blue light + shadows, camoflaging itself into its location.
Pigeon Park by McClelland, Niall (2018) — 101 and 115 Humber College Boulevard, Etobicoke General Hospital, Toronto [Mural / Painting] Medium: Digital printed ceramic frit on glass — Starting with a handmade collage, the intimate artwork has been enlarged into an immersive, architecturally integrated abstraction. The work invites the viewer to get lost in its patterns and shadows, providing an opportunity for contemplation and rest
Motion in Air (Ma) by Macklem, Jennifer (2021) — 1926 Lake Shore Boulevard West, Toronto [Mural / Painting] Medium: The north facade of Mirabella Condominium's podium will receive a system of over 500 high-quality and recyclable aluminum panels covered with dye sublimation printed artwork imagery to express the art. Each panel measures 4 feet in width by 8.5 feet in height for a combined total artwork area of about 14,600 sq.ft. — Motion in Air (Ma) is conceived as a striking gateway project at the threshold of the City of Toronto. Intended as a large, welcoming image that graces the shoreline of the Great Lake Ontario, the artwork is comprised of vibrant colours and images that evoke water, sky and plant life. It pays homage to the interconnections of local ecology with images of dragonflies and their intricate wings, and includes diatoms and botany. This artwork is conceived during our era of environmental challenge and intends to spark curiosity and attention towards specific details of the natural, living world. It is meant to be a hopeful and accountable piece that speaks to Environmental Optimism.
Mixer by Liu, An Te (2021) — 4 Avenue Road (The Park Hyatt Toronto), Toronto [Sculpture] Medium: Bronze — Mixer renders the Park Hyatt site as a stage set inhabited by a pair of cast bronze figures. These forms are engaged in dialogue with passersby, with hotel visitors, and with each other. Bold and distinctive in silhouette, and richly finished in a lustrous deep gold patina, the sculptural ensemble forms a vivid and iconic tableau, reaffirming the Park Hyatt's role as a much-storied meeting place in the city. People are a critical part of the scenography of this work, which unfolds within the architectural proscenium and extends out into the city. As a public artwork, Mixer is monumental in scale - visible from afar and instantly recognizable - but it is also open and intimate, inviting visitors to experience the artwork in the round. The inspiration for Mixer comes archival photographs of the Park Hyatt Roof Lounge, vernacularly known as the rooftop bar. I experienced this myself as an exceptional place to have a martini while I was living and studying Art History at Victoria College, U of T, a stone's throw away. It is impossible to think of the Park Hyatt Hotel without recalling this space; its new incarnation is now keenly anticipated. Populated by guests, locals, and cultural luminaries alike, and tended by legendary bartenders poised before an array of glowing bottles filled with fine spirits, the Park Hyatt bar has epitomized hospitality, expert mixology, and an atmosphere of gregarious encounter. Mixer finds shape and form in the famously lavish display of bottles behind the bar, with their glowing flasks of amber encased in glass. Here, vessel and human form lean into each other, evoking the Park Hyatt's legendary history, evoking industrial, artisinal, and organic forms culled from glassware, receptacles, and couture. The forms also summon the artistic legacy of the British sculptor Henry Moore, a seminal figure in the history of the modern era in Toronto. His work The Archer was installed at Toronto City Hall in 1966, inspiring heated debate on the cultural identity of the city, defining once and for all its receptiveness to new ideas as an emerging international metropolis. Mixer embodies these legacies while also celebrating the pleasure of social encounter, and of imbibing in all senses of the word. These forms pass into each other and intermingle in a dance of shadow and light, a sculptural tribute to the pleasures of hospitality and the warm satisfaction of good company.
Unweaving the Rainbow by Aycock, Alice (2021) — 15 Queens Quay East, Toronto [Sculpture] Medium: Powder coated aluminum modules, rolled aluminum forms, white powder coated galvanized structural steel rolled channel, aluminum mesh and pipes, LEDs — Located on Queen's Quay East Street, the sculptural installation is visible from pedestrian and automobile traffic. It operates as a symbolic entrance arch. Within the arch, various elements have been placed almost as if they have been blown there by the wind. The vortex modules within the sculpture are a reference to the large installation from Phase 1 of the Pier 27 project. The curvilinear screens contain fiber optics and LED lighting. Overall, the piece suggests exuberant energy.
Dragonfly Banners by Fones, Robert (1999) — 222 Bremner Boulevard, Metropolitan Toronto Convention Centre, Toronto [Multidisciplinary] Medium: Fabric
Untitled by Etrog, Sorel (2002) — 450 Mount Pleasant Road, Toronto [Sculpture] Medium: Bronze
Light Keeper by Brown, Caitlind / Garrett, Wayne / Studio North (2019) — Aitken Place Park, 90 Merchants' Wharf, Toronto [Light Installation] Medium: Integrated — Using light as a sculptural material, Light Keeper is an analog, light-based installation drawing from lighthouse lenses and analog projection technologies to create spectral waves of light and a moon clock beamed onto the urban porch of Aitken Place Park. Taking its name from the keepers who maintain lighthouses, the installation speaks to light as a medium for sending messages across vast dark spaces, wayfinding, signalling danger or change ahead. In an urban environment, Light Keeper takes on new meaning against the metropolitan light of Toronto, referencing natural phenomenon: waves and the moon. Rolling rainbow waves beam across Aitken Place Park, interacting with weather on the shores of Lake Ontario by changing the speed of their motion in accordance with the wind. The moon clock changes with the phases of the moon in the night sky, which can often not be seen above the dense skyline and sky glow of Toronto. Light Keeper attempts to capture and keep the ephemeral light that cities threaten to overwhelm.
Step Forward Into History by VerCetty, Quentin (2021) — Joshua Glover Park, 4208 Dundas Street West, Toronto [Sculpture] Medium: Integrated — Step Forward Into History shows the story of Joshua Glover, transforming himself from enslaved property, escaping from St. Louis, Missouri in 1852, to reclaim his humanity and freedom in Etobicoke, Ontario by 1854. The cyborg arm represents the time when Glover was treated more like a machine than a human while each flower references different places of his journey, including: Missouri's state flower (white hawthorn blossom), Wisconsin's state flower (blue violet), Ontario's provincial flower (white trillium), and his ancestral African heritage's hibiscus flower. The Afrofuturist elements of time blending and the Pan-African concept of sankofa incorporated expresses the importance of applying knowledge gained in the past to the present and future. By remembering Glover's story, society can continue to learn and work together towards ending all types of oppression.
Wheel of Fortune by Dault, Julia (2021) — 115 Haynes Avenue, Toronto [Sculpture] Medium: Stainless steel and concrete aggregate — In any given year, one in five Canadians experiences a mental health challenge or illness. Studies have proven that when people believe they have a choice or are presented with options, they feel better and more equipped to handle adversity. Wheel of Fortune is a positive reminder of our shared capacity to make choices big and small. Each choice compounds to make a life. The sculpture suggests answers to questions viewers may have, as if speaking directly to them. Resembling both an eye and a galaxy, Wheel of Fortune suggests those questions can be personal or cosmological. The artwork appears as if it has rolled into the public square and landed on the answer definitely. For students who live here or for people who frequently pass by The Quad at York, the artwork will change as different words resonate at different moments. Its steadfast presence, underscored by the phrase 'I am here with you,' will also make it a symbol of reassurance, of home.
The Heights by Vickerd, Brandon (2023) — Traffic median on the east side of Keele and Finch, Toronto [Sculpture] Medium: Corten Steel — The Heights is a partial representation of the Elia Public School that once stood on the northeast corner of Keele St and Finch Ave West, rendered in Corten steel and cantilevered forty feet above the ground. With its innovative use of symbolic architecture, The Heights highlights the continuity between the past and the present. The sculpture evokes the history of the Keele and Finch area while celebrating the vibrant future of the community. This large-scale artwork incites a conversation around the evolution of the neighbourhood from its semi-rural history, to its life as an industrial centre, to the rapidly expanding urban centre that residents experience today.
Free Time by Drever, Dean (2023) — 16 York St, Toronto [Sculpture] Medium: Cast Bronze and Paint
Highway Rabbit by Idee, Inges (2022) — 131 McMahon Drive, Ethennonnhawahstihnen Park, Concord Park Place, Toronto [Architecture / Landscape] Medium: galvanized steel, urethane paint — Placed in close proximity to the busy Highway 401, the Rabbit has incorporated the endless lanes into its formal DNA. Like a roller coaster, the lanes whiz through the air in curves and loops, forming the image of a very special character that excels in speed and cunning, but often finds itself in life-threatening conflict with the infrastructure. In its hybrid form, it has found a safe refuge in this place.
Network by Baier, Nicolas (2017) — 95 The Pond Road, York University - Quad Residences, Toronto [Architecture / Landscape] Medium: CNC engraved anodized aluminum panels — The artwork for York University represents a network, a weaving, branching system that simultaneously evokes references to Ivy League university buildings and to cutting edge scientific research, performed within these same campuses. The artwork takes its inspiration from a classic tree structure that evokes great tradition of knowledge institutions.
More specifically, the depicted networks describe branches of ivy, the shape of a cluster of galaxies and the human neuronal network, expressed through a progressive multiplication of metaphorical references. The reticular system will transform into a galactic super cluster, dendrites, the vectors describing the planes of a crystal and the easily recognized organic growth of vines or ivy.
Mappemonde by Baier, Nicolas (2022) — 40 Temperance Street - Bay Adelaide Centre, Toronto [Architecture / Landscape] Medium: Statuario marble — This bas-relief artwork is a subtraction, not an addition, to the white marble of the lobby, evoking a topographical map. Each tile, cut with a robotic router, reproduces a complex and multifaceted network of roots, recalling both natural and artificial systems of organization. The network of the tree structure, the rhizome, and reticulardevelopment is the richest and most promising metaphor of our time. It is a dominant reference to contemporary thought, evoking the infrastructure of technical and communication macrosystems
(a network of networks), and underscores a host of essential disciplines that operate within this building. The network is about organic growth, geological formations and biological systems, as well as the interconnectedness of the systems that shape our lives.
Everything can be seen as a tree ourselves (with our trunk, our limbs, our fingers, our internal systems, our brains), our families and lineage, rivers, lakes, oceans and continents, plants, spiderwebs, beehives, ant nests, buildings and urban developments, our communities, economic models, the world wide web and the internet, space, solar systems, constellations, galaxies, black holes, atoms and their subatomic particles, and all visible and invisible matter. Everything is built, or created, as an infinite interrelationship.
Nature, the universe, and reality feel like three synonyms that are inclusive and that encapsulate all things. And what about us? We are the dreaming flesh of the universe which dreams of itself and about itself.
Emergence by Yellin, Dustin (2023) — 444 Front Street West - The Well, Toronto [Sculpture] Medium: Cast stainless steel — Emergence by Dustin Yellin braids together three threads -- the origin of the universe, the birth of life, and the creation of computing. The sculpture depicts a giant figure modelled from the World Tree, a mythological concept found across multiple cultures that connects the Earth to the stars. Mirroring various evolutionary hypotheses, Emergence grows out of a base plate that represents a primordial soup from which all life on Earth developed. Various vignettes and fantastical elements are scattered throughout the figures body: a cat with the rear of a dog stares into a toilet to see its reflection like Narcissus; an astronaut chick hatches out of a golf ball; a battery operated frog licks a Black Hole in the form of a bagel; a monkey emerges from a monkey brain held up by a large-lipped rotisserie chicken; hybrid animal/human astronauts explore the entire scene from top to bottom, making their way up to the moon.
Included among these surrealist details are many elements relating to the sculpture's overarching themes of cosmology, mythology, and technology, interspersed with nods to Ontario, such as local flora and fauna, and major Canadian inventions. These many details add up to tell various stories of how small things come together to form more complex systems. Like an open-source code, these stories are not determined, and visitors are encouraged to decipher the artwork and construct their own narratives.
North Star by Baird, Rebecca (2023) — 555 Rexdale Boulevard, Toronto [Sculpture] Medium: Powder-coated aluminum and stainless steel
The Words I Love Most by Amer, Ghada (2024) — 555 Rexdale Boulevard, Toronto [Sculpture] Medium: Bronze
Untitled by Biggers, Sanford (2023) — 555 Rexdale Boulevard, Toronto [Sculpture] Medium: Hand-made tiles, steel and paint
Untitled by Hyckie, Meaghan (2022) — 555 Rexdale Boulevard, Toronto [Architecture / Landscape] Medium: Powder-coated aluminum
Visions from an Iron Age by Santiago, Curtis Talwst (2022) — 555 Rexdale Boulevard, Toronto [Sculpture] Medium: CorTen steel — Imagining the people who will experience and interact with the space and sculpture, I assume they are from all walks of life. Some come to enjoy a show or the horse races, or just a sunset stroll. What they all have in common is an ancestry that predates borders and nationalities.
These early ancestors created the earliest images of artistic expression. The flames of their fires created the charcoal that sparked their imagination. This is where my idea begins. At first glance the sculpture looks like a giant fire kissing the sky. When the viewer looks deeper into the flames, they begin to make out the images of horses and possibly other animals. As they walk into the center of flames, their gaze is drawn upwards. As the steel smoke swirls upward, more silhouettes are visible and appear to be dancing with the clouds. Recently scientists have said that due to the lack of oxygen in some of these caves, the cave painters would have actually been hallucinating. Another theory holds that in the caves, flames flickering from a campfire or torch could make the horses move; the shadows and the curvature of the rock walls enhance the feeling of movement. The shadows that my sculpture will cast on the surroundings during various points of the day will add an additional layer of experience for the viewer.
I've chosen CorTen steel that weathers and changes colour. The orange patina makes reference to orange and red pigments often found in the cave paintings.
The sculpture is a way to celebrate the horse culture that has existed at Woodbine but is also a deeper core of human existence; our love for art, and our need to express or wonder at the beauty of these powerful animals.
Trifecta by Slijboom, Dana (2023) — 555 Rexdale Boulevard, Toronto [Sculpture] Medium: Painted stainless steel
Campfire by Belmore, Michael / Mejia, Herman (2024) — Humber Bay Shores Park, Toronto [Sculpture] Medium: stainless steel, Corten steel, concrete pavers, and a hand-carved granite boulder — Campfire, a permanent public artwork by Michael Belmore and Herman Mejia, is an Indigenous-led project that stands as a new landmark and gathering place on the waterfront. Inspired by the symbolism of a campfire at the water's edge, it evokes warmth, comfort, and reflection's timeless beacon that connects us to journeys past and present. Positioned at the mouth of the Humber River, Campfire invites visitors to pause and gather, embodying the spirit of travel, rest, and community in a place where stories are shared, and memories take shape. The project was commissioned by the City of Toronto and selected through the Humber Bay public art competition process.
83 by Baird, Ron (1968) — 195 Princes' Blvd, Toronto [Sculpture] Medium: Steel — This steel sculpture was built on site by sculptor Ron Baird who was commissioned by the House of Seagram to construct an artwork for the 1968 CNE. It is titled 83 after Seagram's 83 Canadian Whiskey, which was the most popular brand of whiskey in 1968.
A Druid's Alphabet by Cox, Elford Bradley (1961) — 2275 Bayview Ave. Toronto, ON, Toronto [Sculpture] Medium: Limestone — Pair of stone bas relief door panels framing the main doors of York Hall.
A Step Beyond by Tiura, Oliver (1993) — Located along the BIA's main street, on Dufferin St. between Stayner Avenue and Lawrence Avenue West., Toronto [Sculpture] Medium: Integrated — A Step Beyond expresses the metaphorical transition between life and the after life.
ALLSTYLE by Wright, Curtia / Danilo Deluxo / Elliott, Elicser / Comrie, Jacquie / Kreecha / MEDIAH / Frank(Luvs), Moises / Lee, Ness / Yung Yemi (Adegbesan, Adeyemi) (2021) — 40 Carl Hall Road, Toronto [Mural / Painting] Medium: Paint — ALLSTYLE is a massive mural collaboration creating space for BIPOC Street Artists, Graf Writers and Muralists to express their best selves, cultural identity, and unique style with the aim to unite our communities. The 360 foot long mural brings together 9 talented artists from across the spectrum, shining light on ALL styles of mural expression exploring themes of ancestry, ethnicity as well as inner strength and radiating one's internal shine.
Bear Family by Cox, Elford Bradley (1961) — Centre Island, Toronto Island Park, Toronto ON, Toronto [Sculpture] Medium: Limestone — Large stone sculpture depicting a family of bears.
CAN by Cieloszczyk, Michelle (2017) — 85 Hanna Ave, Toronto [Sculpture] Medium: Integrated — CAN was designed to represent the accelerated and bustling lifestyle that is the Shops of King Liberty in Toronto. Its brand-less, textured form is antithetical to the smooth surfaces of consumer goods. The reconstructed skinny can is a waste object made clean and valuable. The sculpture mirrors the unrecognizable transformation of Liberty Village's past and its affluent present and future.
Fibonacci Feedback by Clark Espinal, Panya (2011) — 17 Broadway Ave, Toronto, ON, Toronto [Sculpture] Medium: Integrated — Stretching the length of a high school athletic field, Fibonacci Feedback acts as a visual articulation of a pattern of movement. Generated with the mathematical sequencing of the Fibonacci series of numbers, alternating blocks of the school's red and grey hues create a gradating rhythmic pattern. The fence acts as a backdrop to cheering fans.
Fish by Horne, Jean (1954) — 10 Nova Scotia Ave, Toronto [Sculpture] Medium: Bronze and Copper — The Food Building is home to twin sculptures of flying fish - one at the east entrance, and one at the west. They were commissioned for the newly constructed Food Building, and were originally part of a system of pools and waterfalls on the building's exterior.
Freedom 2005 by Wu, Man-Wai (2005) — 100 Princes' Blvd, Toronto [Sculpture] Medium: Limestone — Created as part of the International Stone Sculpture Symposium held at the 2005 Canadian National Exhibition.
Huron St Lanterns Square by Lee, Jyhling / Figureground Studio (2019) — Huron St and Dundas St W, Toronto [Sculpture] Medium: Painted Aluminum, LED lighting — This Chinese 'lanterns inspired public square located in Toronto's main Chinatown neighbourhood, serves as landmark and event site for the community. A segment of Huron Street, north of Dundas Street West has been pedestrianized with patterned paving and varying Chinese ornamental illuminated lantern art elements. Photo by: Jyhling Lee, Figureground Studio
Lighten Up by LeuWebb Projects (2021) — 3080 Yonge Street, Toronto [Sculpture] Medium: Cast aluminum, steel — Lighten Up captures a moment of wonder, joy, and dismay. Still in sight, but just out of reach. The floating balloons speak to our hope amidst the uncertainty of the world around us, while the downed balloon on the ground may allude to gravity, despair or simply an unlucky twist of fate. Artists: LeuWebb Projects (Christine Leu & Alan Webb) Fabrication: Punchclock Metalworks Art Consultants: Zebra Public Art Mgmt. Commissioned by First Capital REIT.
Lions by McKechnie, Charles (1926) — 25 British Columbia Rd, Toronto [Sculpture] Medium: Cast Stone — Tucked away next to the Liberty Grand are two pairs of stone lions, one set on the north, and one set on the south lawn. Made of cast concrete, they were created in 1926 by the artist Charles McKechnie as decorative pieces for the newly constructed Ontario Government Building (now Liberty Grand).
Little Portugal Toronto Barcelos Rooster by Prajza, Julia (2021) — 2 Lakeview Ave, Toronto, Toronto [Sculpture] Medium: Integrated — With much love and great fanfare, the Little Portugal Toronto Barcelos Rooster was unveiled at Lakeview Park, on Saturday, September 25, 2021. Local artist, Julia Prajza explained that her winning design was based on the themes of new beginnings, hope and optimism. The Rooster truly does honour the rich culture of the Portuguese people, and in Julia's words, she skillfully "created this modern-meets-traditional design." We invite everyone to stop by, take a selfie and post, and spread the word about our very own Rooster of Barcelos. Julia Prajza is a Muralist, Lettering Artist, and Designer based in Toronto. As an OCAD University graduate, with experience as an Art Director and Graphic Designer, she has now returned to her first love: the art of drawing and painting. Bringing her design expertise and graphic style to her work, Julia often focuses on text-based imagery. Creating intrigue with ornate details, vibrant colours, and a whimsical style, she aims to bring more joy and positivity into our everyday lives. With her lively spirit, Julia is emerging into the public and community-engaged art world because she strongly believes in the power of art and its ability to help improve our mental health and cultivate human connection.About Julia's design: "So for my design, this was originally based on the theme of 'new beginnings, hope, and optimism' and I wanted to create something that would truly honour the rich culture of the Portuguese people. And so I created this modern-meets-traditional design. I used these really vibrant colours that would celebrate the energy of the Rooster itself, in order to emanate from the sculpture for locals and visitors alike. 'On the shape of the Rooster itself, I created these bold, organic, playful pieces that would fit together like illuminated stained glass work. The patterns that live within these shapes, they're kind of my abstract interpretation of Portuguese folk art embroidery, with a whimsical twist in there. Also inspired by my travels to Portugal in 2013, I've used these contrasting colours of yellows and blues that dance together in a lovely harmony, representing the everlasting sunshine and sparkling blue waters of the landscape.And with these details, I kind of hope that people will appreciate them the closer they come to look at the sculpture and act as hidden gems for people to discover that makes public art so exciting. And I hope to bring this playful, positive representation of Little Portugal to life and really reflect on the importance of the Rooster.' Julia Prajza
Livestock Roundels by Unknown (1926) — 100 Princes' Blvd, Toronto [Sculpture] Medium: Cast Stone — The exterior wall of the Heritage Court houses 5 livestock roundels and 2 decorative plaques, while 3 ram's head keystones make up a bench in the eastern portion of the Galleria. These were located on the southern walls of the Coliseum prior to its incorporation with the Enercare Centre.
Maanjidowin: The Gathering by General, David M. (2022) — Billy Bishop Airport, Toronto [Sculpture] Medium: Sculpture — Maanjidowin: The Gathering has been unveiled by PortsToronto at Billy Bishop Toronto City Airport. The sculpture was created by David M. General, Mohawk Nation, Wolf Clan of the Six Nations, and was conceived and installed in partnership with the Mississaugas of the Credit and aims to recognize the Mississaugas of the Credit First Nation and their relationship to the land, air and water on which the airport now operates. Maanjidowin: The Gathering, is a large-scale granite and bronze sculpture that is more than 16-feet in length and features three mythical fishers Makwa-Kwe (Bear), Nigig-Kwe (Otter) and Migizi-Kwe (Eagle) who have come to the estuaries and islands along Toronto's Lake Ontario shoreline to fish. The canoe in which the fishers sit is inscribed with words and symbols of significance to the Mississaugas of the Credit, including: The Medicine Wheel; the Seven Grandfather Teachings, which are guiding principles that provide the moral and cultural foundation of life; and poetry from the current Chief R. Stacey Laforme. As indicated by inscribed arm tattoos, the creatures are all female, as females played a central role as custodians of cultural traditions surrounding water.
Mashrabiya by Avarzamani, Ghazaleh (2021) — 158 Sterling Rd #100, Toronto, ON, Toronto [Sculpture] Medium: Painted steel — Exterior Installation Description:Mashrabiya invites us to question the public accessibility of museums like MOCA through modes of open and obscured visibility. Offering a play on Islamic window screens, which permit views from inside out but not from outside in, this piece stands as an observation deck and a confessional; some visitors become observers, some are observed, but they cannot assume both roles at once.Interior Installation Description (on the first floor, which is free and open to the public):Broken Circle combines Avarzamani’s interest in play and power dynamics. Envisioned as a game board, viewers are challenged to spin tops—the player who keeps their top upright the longest wins. But these game pieces are misshapen and might not ever spin. Using a digital rendering programme, she has altered their forms by including the shapes of their shadows. Treated in a black finish and laid out on a playing surface, their skewed postures challenge our perceptions of where the objects end and the shadows begin. Broken Circle is a symbolic exploration of how perspective can shift our understanding of reality. These augmented spinning tops carry our current sense of anxiety and imbalance—each new contour or bulge a sign of power games in life and politics, alluding to a world off-kilter and struggling to remain in a steady motion.Artist Bio:Ghazaleh Avarzamani (born 1979 in Tehran) holds an MFA from Central Saint Martins and has presented solo exhibitions at the Koffler Gallery, Toronto; Ab-Anbar Gallery, Tehran; Asia House, London; and Light Gallery, London. Avarzamani has been or will be artist-in-residence at the Aga Khan Museum, Toronto; the Delfina Foundation, London; and the Banff Arts Center, Banff and is the 2019 winner of the award for best monographic exhibition from the Ontario Association of Art Galleries.Courtesy the artist and Galerie Nicolas Robert, Montreal and Toronto.Photo: Toni Hafkenscheid (installation view MOCA Toronto).
Model Home by Lee, Jyhling / Figureground Studio (2019) — 402 Shuter St (at the corner of Shuter st and Sackville st), Toronto [Sculpture] Medium: Painted Aluminum — Situated outside the entrance of the new Regent Park Community Centre, Model Home, is an inhabitable sculptural space that attempts to provide a specific portrait of ‘home’ - one that reflects the community and its inhabitants. Inspired by the importance of one’s home and domestic environment, the artwork is a means of documenting and bringing together a collection of meaningful personal artefacts and possessions. In essence, the piece is a collective portrait of home for the culturally rich and demographically diverse residents of the Regent Park neighbourhood.
Mother and Child by Loring, Frances (1957) — 190 Princes' Blvd, Toronto [Sculpture] Medium: Polystyrene — This piece was commissioned for the construction of the Queen Elizabeth Building, which was originally called the Women’s Building.
Nightlights by Christian, Michael (2010) — 1 Trinity Street, Toronto ON, Toronto [Sculpture] Medium: Integrated — Nightlights , a 21 foot tall sculpture made of steel, sits near the rear entrance to the Distillery District. It was shipped here in 2010 after an appearance at the Coachella Music Festival in California. The orb-like heads light up at night in a variety of colours.
Reading Figure by Cox, Elford Bradley (1954) — Long Branch Public Library, 3500 Lake Shore Blvd West, Toronto ON, Toronto [Sculpture] Medium: Limestone — Relief carving of a reader, installed above the main entrance of the library.
Seated Bear with Salmon by Cox, Elford Bradley (1969) — 200 Princes' Blvd, Toronto [Sculpture] Medium: Limestone — One of three bear sculptures by the artist E. B. Cox located around the Queen Elizabeth building.
Spirits of the North by Contzen, Matthias (2005) — 100 Princes' Blvd, Toronto [Sculpture] Medium: Limestone — Created as part of the International Stone Sculpture Symposium held at the 2005 Canadian National Exhibition.
Splash Pad by Marsala, Paul (2015) — 14 Saskatchewan Rd., Toronto [Sculpture] Medium: Bronze — Designed for the 2015 Pan Am games, the cylindrical bronze sculpture has all 51 sports played during the Toronto 2015 Pan Am and Para Pan Am Games etched into the sculpture like a stencil template. At night the sculpture lights up and the names of the sports cascade onto the surrounding landscape.
Spring Break-Up by Cox, Elford Bradley (1958) — Park Hyatt Hotel, 4 Avenue Road, Toronto [Sculpture] Medium: Sculpture, Limestone — Six jumping fish. Commissioned by the Park Plaza Hotel. Originally in the fountain at the hotel entrance. Moved to the lobby in 2022, after hotel renovations. This sculpture is one of the first non-architectural decorative sculptures introduced into Toronto for the purpose of making the courtyard of a building more attractive.
Standing Bear by Cox, Elford Bradley (1969) — 200 Princes' Blvd, Toronto [Sculpture] Medium: Limestone — One of three bear sculptures by the artist E. B. Cox located around the Queen Elizabeth building.
Statues of Industry by McKechnie, Charles (1928) — 100 Princes' Blvd, Toronto [Sculpture] Medium: Cast Stone — These four statues along the north wall of Heritage Court in the Enercare Centre used to be on top of the Electrical and Engineering Building, until it was demolished in 1972. The statues were designed as a tribute to industrial labour in Canada.
The Bear by Cox, Elford Bradley / Clay, Michael (1978) — Guild Park and Gardens, 201 Guildwood Pkwy, Scarborough ON, Toronto [Sculpture] Medium: Limestone — Massive bear, carved from limestone on the grounds of the Guild Inn and Gardens.
The Peace Sign by Rosenblatt, Matthew (unknown) — Distillery Historic District, Toronto [Sculpture] Medium: Integrated — Symbolic Peace is a laser cut, rolled steel sculpture inspired by the strength of diversity in our community. It is representative of individuals and communities living together in harmony despite their superficial differences, and the fact that only together can we create something greater and more beautiful than the individual parts.
The Seated Bear by Cox, Elford Bradley (1969) — 200 Princes' Blvd, Toronto [Sculpture] Medium: The Seated Bear — One of three bear sculptures by the artist E. B. Cox located around the Queen Elizabeth building.
Theatre Mural by Wood, Elizabeth Wyn (1957) — 190 Princes' Blvd, Toronto [Sculpture] Medium: Copper — This large copper sculpture was created by Elizabeth Wyn Wood in 1957, commissioned specifically for the Queen Elizabeth Theatre. It features the classic dramatic masks of comedy and tragedy.
ThreeSidesOneGesture by Simoni, Suzanne (2019) — 85 Ellesmere Road, Toronto, ON, Toronto [Sculpture] Medium: Galvanized steel tube, paint — Inspired by the historic architectural curved roof feature of Parkway Mall and the heritage of Maryvale Farm, a breeder and trainer of racehorses (circa 1928 - 1939), ThreeSidesOneGesture curves into an arch through which the community enters and engages with the history and identity of the neighbourhood. In this sculpture, the community experiences three elements that coexist: the human conjoined with the ecosystem and the built environment, even though all three are never simultaneously visible. By walking around the sculpture, the viewer experiences the changing juxtapositions of the arch, humanity and horse, which superimpose in changing configurations.
Toronto Qilin by Lee, Jyhling / Figureground Studio (2019) — Huron St and Dundas St W, Toronto [Sculpture] Medium: Bronze Cast — An auspicious bronze cast Qilin sculpture marks the entrance to Huron St Square in Chinatown. Chinese Zodiac figures and Qilin with dragon and hybrid animals symbolism have been incorporated into this public space. These integrated art elements serve to create a cohesive artistic expression to celebrate Chinese culture as well as to create an interactive environment for visitors in this new public space.
Ulysses Curtis Murala Project Commissioned by XOXO Downsview by McCallum, Danilo Deluxo (2021) — 10 Carl Hall Rd. North York, ON, Toronto [Mural / Painting] Medium: Paint — Danilo Deluxo has created this mural of Ulysses "Crazy Legs" Curtis: a trailblazing Toronto Argonaut running back, much-loved educator, and local hero. Ulysses Curtis joined the Argos in 1950, becoming their first full-time Black player. Seventy years later, he remains among the team's top five offensive players. He helped win two Grey Cups in his five seasons with the Argos and stood up to considerable racial animosity. Upon his retirement from football, Curtis started a new career, working with young people in the Downsview community. He became one of the first Black teachers at the North York Board of Education and spent thirty years teaching at various North York high schools. In 2013, Ulysses Curtis passed away in Toronto at 87, but his legacy lives on in Downsview and this mural. Artist Biography Danilo Deluxo McCallum is an award-winning Toronto-based multidisciplinary artist, graphic designer, muralist, and cultural curator. His creative practice explores the multiplicities of Black identity through the lens of Afrofuturism. He has been working collaboratively with arts organizations, artists, and communities in Toronto for more than 15 years and is probably best known for "Patterns of the People", part of the iconic "Toronto" sign in Nathan Phillips Square. Danilo is the curator of ArtworxTO's northwest hub of the Year of Public Art. As well as curating a massive BIPOC mural on the Downsview Supply Depot, Danilo is painting the XOXO Downsview Ulysses Curtis mural on the former Downsview Fire Station.
Unity Pole by Nahrgang, Kris (2017) — 210 Princes' Blvd, Toronto [Sculpture] Medium: Cedar — Incorporates the traditional medicinal colour palette of indigenous peoples: red, white, black and yellow, and embraces such universal symbols as the turtle (mother earth), the bear (family), and the eagle (flies between the spiritual and the mutable worlds).
Out for a Stroll, The SCARBOROUGH Sign by Wright, Curtia (Mural) / Sign by McWood Studios / Hlady, Marla / Wong, Victor / Haider, Nabiha / Salom, Lorena (2021) — Scarborough Town Centre, 300 Borough Drive, Scarborough, ON., Toronto [Sculpture] Medium: Sculpture — Scarborough Arts will celebrate the six Scarborough wards with a public installation of the Scarborough Sign, where it will be on featuring a unique design by a local artist with connections specific to the ward the sign is in for that month’s duration.