Story and Song: Intro to Anishinaabemowin with Melody Crowe

This event is free and open to everyone. Registration required.

Join us virtually or in-person at Oshawa Public Libraries – Delpark Homes Centre Branch on Saturday June 18th from 10:30 – 11:30 am for a morning of stories and songs with Anishinaabekwe Melody Crowe. Learn the Anishinaabemowin names for the animals living around us. This event is hybrid with limited in-person capacity. To participate in-person, please email Erin Szikora at [email protected]. To participate virtually, please register with the link above. Each participant will receive a printable colouring book. This event is for all ages and is presented in partnership with The Robert McLaughlin Gallery and Oshawa Public Libraries.

This program is presented as part of Mamanaw Pekiskwewina | Mother Tongues: Dish With One Spoon Territory, the second of four locality specific iterations of the Mamanaw Pekiskwewina project, and was developed in tandem with the presentation of Taskoch pipon kona kah nipa muskoseya, nepin pesim eti pimachihew | Like the winter snow kills the grass, the summer sun revives it at The Robert McLaughlin Gallery. Mamanaw Pekiskwewina | Mother Tongues: Dish With One Spoon Territory is co-curated by Missy LeBlanc and Erin Szikora.


Melody Crowe is a Michi-Saagiig Anishinaabe Woman from Alderville First Nation which is located on the South Shore of Rice Lake, Ontario. She has dedicated her life to creating a deeper understanding and appreciation of First Nation culture, knowledge, language, and history, and has more than 25 years of teaching the Ojibway language to children, youth, adults, and Elders. She works from the place of honouring her Ancestors and honouring the importance of Indigenous Peoples and ways of knowing. In 2007, Melody received the Lifetime Achievement Award for her work in the preservation of language and culture from the Union of Ontario Indians, and in 2015, the Honouring Our People Award from the Ogemawahi Tribal Council. Melody is also an eagle feather carrier, a jingle dancer, and a photographer.

Mamanaw Pekiskwewina Mother Tongues: Dish With One Spoon Territory is presented in partnership with TRUCK Contemporary Art.

We acknowledge the support of the Canada Council for the Arts and the Ontario Trillium Foundation for this project.

Canada council logo

Tim Whiten in conversation with Erika DeFreitas

Registration required. A link to access the talk will be sent to you via email on the day of the event.

Join us for the premiere of an online programme featuring a conversation between Tim Whiten and Erika DeFreitas at Whiten’s Toronto studio. During this recorded talk, both discuss their creative process, reflect on influences, and share recent work related to their shared interests in metaphysics, art and ritual practices.

Co-presented by the McMaster Museum of Art (M(M)A) and the Robert McLaughlin Gallery (RMG), this special event is hosted in conjunction with the collaborative survey Elemental currently on view at their respective venues.

Elemental is a multi-venue collaborative retrospective bringing together four Ontario presenters, including the Art Gallery of Peterborough (AGP), Art Gallery of York University (AGYU), McMaster Museum of Art and the Robert McLaughlin Gallery. Celebrating Tim Whiten’s broad and prolific career as an image maker and educator, the exhibitions draw on over fifty years of Whiten’s creative production devoted to studying the nature of consciousness and the human condition through material transformations. Curated by Chiedza Pasipanodya (AGP), Liz Ikiriko (AGYU), Pamela Edmonds (M(M)A) and Leila Timmins (RMG), and showing between 2022 and 2023, this series of separately curated exhibitions are thematically united by the classical elements of air, water, earth, and fire – referencing Whiten’s interest in alchemical processes.

Elemental: Ethereal is on view at the McMaster Museum of Art until May 13, 2022 and Elemental: Oceanic is on view at The Robert McLaughlin Gallery until August 28, 2022. The exhibitions at AGP and AGYU are forthcoming.

About Tim Whiten

Tim Whiten was born in Inkster, Michigan in 1941. In 1964, he received a B.S. from Central Michigan University, College of Applied Arts and Science, and in 1966 completed his M.F.A. at the University of Oregon, School of Architecture and Allied Arts. After immigrating to Canada in 1968, he taught in the Department of Visual Arts at York University for 39 years. An award-winning educator, he was also Chair of the University’s Department of Visual Arts where he is currently Professor Emeritus. Since 1962, he has had work presented in exhibitions throughout North America and internationally and it is included in numerous private, public, and corporate collections, such as the National Gallery of Canada, the Art Gallery of Ontario, and the Fine Arts Museums of San Francisco (both the de Young and the Legion of Honor/ Achenbach Foundation for the Graphic Arts). Based in Toronto, Tim Whiten is represented by Olga Korper Gallery.

About Erika DeFreitas

Erika DeFreitas’s multidisciplinary practice includes performance, photography, video, installation, textiles, drawing and writing. Placing emphasis on gesture, process, the body, documentation and paranormal phenomena, DeFreitas mines concepts of loss, post-memory, legacy and objecthood. Her work has been exhibited nationally and internationally including: Kitchener-Waterloo Art Gallery; Platform Centre for Photographic and Digital Arts, Winnipeg; Gallery TPW, Toronto; Project Row Houses and the Museum of African American Culture, Houston; Fort Worth Contemporary Arts; and Ulrich Museum of Art, Wichita. She is a recipient of the 2016 Toronto Friends of the Visual Arts Finalist Artist Prize, the 2016 John Hartman Award, and was longlisted for the 2017 Sobey Art Award. DeFreitas holds a Master of Visual Studies from the University of Toronto.​

Grant Writing Workshop + Guided Peer Review With Daniella Sanader

Part I: Grant Writing 101 with Daniella Sanader

Wednesday, April 13, 2022

6-7:30 pm

Hosted on Zoom

Register: https://us02web.zoom.us/meeting/register/tZwpduugrjsuHNUdyNS-CokpYIxZMrGPaiST

Part II: Guided Peer Review: Project Proposals

Wednesday, April 27, 2022

6-7:30 pm

Hosted on Zoom

Register by April 20, 2022: https://us02web.zoom.us/meeting/register/tZwkcO2pqTsuHNKiQzSWxjb_5bcifXfBhLBJ

Both sessions are free and open to everyone.

Attendance at both sessions is not mandatory; however, if you’re new to grant writing and you’re interested in taking part in the guided peer review session, we strongly encourage you to attend Part I: Grant Writing 101. Please note that the deadline to register for the peer review session is April 20.

Closed captioning and live transcription will be available through the built-in Zoom CC and Transcription features. ASL Interpretation can be arranged upon request. Please contact Hannah Keating at [email protected] to submit an interpretation request by March 30, 2022. All efforts will be made to fill a request, but if an Interpreter cannot be secured, we will let you know before the event takes place.

Is there anything else we can do to support your participation? Please reach out to Hannah at [email protected].

Part I: Grant Writing 101 with Daniella Sanader

Offering an overview of the funding landscape, this workshop will highlight how grants can support your art practice and projects, how to prepare and manage your time, and where to find key funding opportunities. We’ll also review best practices for budgets and support material and read through a successful grant application to explore useful writing tips you can use in your own applications.

This workshop will be hosted as a Zoom webinar, with a short mid-session break and an opportunity to ask questions at the end.

Part II: Guided Peer Review: Project Proposals

In this facilitated session, you will be paired with another artist to exchange project proposals and provide mutual support through questions and suggestions. We will provide structure and advice for the peer review that will guide your 1:1 breakout rooms and Daniella Sanader will join the call at the end to address any additional questions.

Each participant should come prepared with ONE of the following:

Option A: If you are preparing to apply for a grant and already have a project proposal prepared, bring that draft text for review. The text should be no longer than 500 words.

Option B: If you don’t currently have a grant in mind, you can prepare a hypothetical project proposal using the following prompt: Describe your project. Explain the inspiration for your project or why you wish to undertake it at this time and how this project will contribute to your artistic development. The text should be no longer than 500 words.

Option C: If you recently applied for a grant, but were unsuccessful, you can bring your project proposal from that application. You may have an opportunity to reapply or submit the project for consideration in another grant application. The text should be no longer than 500 words.

Schedule

This workshop will be hosted as a Zoom meeting and will have the following schedule:

  • 6:00-6:10           Welcome and housekeeping
  • 6:10-6:30           Breakout rooms in pairs – participants introduce themselves and exchange texts; read and reflect independently.
  • 6:30-6:45           Partner 1 offers feedback to Partner 2
  • 6:45-7:00           Partner 2 offers feedback to Partner 1
  • 7:00-7:20           Return to the main Zoom room – pairs or individuals can bring questions to the group for more input; Daniella Sanader will join the call to answer questions as well.

About the workshop leader

Daniella Sanader is a writer and reader based in Toronto. Her writing has appeared in Canadian Art, Artforum.com, C MagazineBlackFlash MagazineBorder Crossings MagazineMaclean’sThe Brooklyn Railesse magazine, and others. Her texts have also been published by a number of galleries and artist-run spaces across Canada and internationally. In January 2018, she was named the annual Emerging Cultural Leader by the Artist-Run Centres and Collectives of Ontario (ARCCO). She was also a participant in the Critical Art Writing Ensemble III at the Banff Centre in 2018. Currently, she works as a freelance editor, supporting artists, curators, and arts organizations to realize a variety of texts.

If you have any questions about this event, please contact Hannah Keating at [email protected].

The RMG would like to acknowledge the RBC Foundation for their generous support of the Artist Professional Development Workshop Series.

NEW! RMG Virtual School

RMG Virtual School is a FREE synchronous learning opportunity for Kindergarten to Grade 8 students! One of our Educators will visit your classroom virtually and provide a directed and social interactives using artworks from the RMG’s permanent collection. Each virtual engagement is designed to build students’ visual literacy skills, nurture problem solving and communication skills, and encourage imaginative and creative thinking.

The Robert McLaughlin Gallery has an extensive collection of modern and contemporary artworks, in particular, abstractions by the Painters Eleven.

This year, we will take a deeper dive into abstractions to facilitate discussion on themes such as identity, mental health and wellbeing, environmental advocacy, and social justice. While abstraction will be at its core, integration of historical artworks (such as works by members of the Group of Seven) will be used for a holistic approach to our innovative and multi-disciplinary learning offerings.

Starting February, these programs will be offered Wednesday to Friday. They can be booked to suit your classroom and school scheduling needs. Each program is approximately 30-45 minutes in length and can be extended to include a 45 minute studio workshop. Studio activity kits will be available at a nominal fee ($75 for a class set for up to 30 students), pick up at the RMG.

 

Kindergarten, Grade 1-3

Abstract Portraits: Communicating our Thoughts and Feelings

Mental Health and well-being is at the forefront of our daily lives and affects even the very young. Looking at and reflecting on portraits is a great way to identify various emotions in ourselves, encourage empathy with others and build healthy social relationships. In this program, we will play, discuss and explore realistic and abstract portraits by Canadian artists. Students will be encouraged to reflect on their experience through a grade appropriate basic drawing exercise. The optional extended studio workshop will encourage students to consider the use of patterns and textures to create their own whimsical water-soluble oil pastel portrait.

Grade 4-6, Grade 7-8

Abstract Portraits and Identity

Art is a connector between us, artists often use the theme of relationships as a subject of their artwork. What can art teach us about ourselves? How can art help us enhance our emotional and social intelligence? How do our identities inform our values, ideas, and actions? In this interactive program, we will consider not only our own development of identity and self-advocacy but also explore how we handle social justice issues using abstract concepts and artworks. Students will be encouraged to reflect on their experience through a grade appropriate basic drawing challenge. The optional extended studio workshop will encourage students to create a mixed media self-portrait.

 

To book a session, please contact Learning and Engagement Lead, Jennifer Welch at [email protected].

Perspective/Prospective

Perspective refers to an outlook and point of view, while prospective is future-oriented, suggesting a vision of what is to come. Both this personal and aspirational approach, encompass the spirit of this student photography project. Presented in partnership with the School of Media, Art and Design at Durham College, this exhibition showcases photographs taken by students in the first year Photography and Video Production program. For the project, the students explored photovoice, a process through which photography is used to reflect lived-experience and connect through the sharing of personal perspectives. They were then invited to tell a personal story through images, documenting their environment and daily experiences.

This project was part of an integrated learning experience where the students learned about the history of the Thomas Bouckley Collection, the power of using photovoice, and the value of looking inward. The Thomas Bouckley Collection, housed at the RMG, has over 3,500 photographs that visualize the history of Oshawa. However, the collection lacks the stories and perspectives of many of Oshawa’s residents. Installed in the Thomas Bouckley Collection corridor, this project is part of The Robert McLaughlin Gallery’s ongoing effort to present diverse perspectives from the community. 

The resulting photographs shared similar themes, reflecting the students’ realities and observations: empty streets or paths, solace in nature, changing environments, the visible impacts of the COVID-19 pandemic, and exploration of community. We want to thank all of the participating students for sharing their lives with us through the power of photographs.

Shane Kreslin, Waiting, 2021, digital photograph.
Edition 1/1
Location: Oshawa GO Station, ON

“I was waiting for my brother to get off the train and wanted to capture the feeling of waiting for a family member or a friend to get off the train.”

Ryan Caley, Twisting Path, 2021, digital photograph.
Edition 1/1
Location: Bowmanville, ON

“The creek is situated right in the middle of Bowmanville, and it is amazing how you feel completely immersed in nature by venturing down some of the less travelled paths while still always being no less than a five minute walk away from a main road or neighbourhood.”

ulon Williams-Stewart, Autumn Leaves , 2021, digital photograph.
Edition 1/1
Location: Oshawa Valley Botanical Garden, Oshawa, ON

“There is a lot to be said about nature. No matter the time of day, weather, or season, it always finds a way to remain breathtaking.”

Walter Cheung, Durham College, 2021, digital photograph.
Edition 1/1
Location: Durham College, Oshawa, ON

“I picked Durham College as my subject because …the memories that I have created here are unforgettable. This building has a special meaning to me because the year that this building was completed was the same year I started my studies at Durham College. It was also the location of my first course.”

Jordan Rushton, Plentiful Apples, 2021, digital photograph.
Edition 1/1
Location: Maple Grove Orchards, Bowmanville, ON

“It conveys a joyful and relatable experience by capturing something anyone can do. I want these photos to allow anyone to bring back memories or make new ones about an apple orchard.”

Shyanne Rodriguez-Kiritpal, Out of the Shadows, 2021, digital photograph.
Edition 1/1
Location: Dean Park, Oshawa, ON

“Halloween is one of my most favorite holidays of the year. Last year in 2020 when COVID-19 hit hard, there were many cancellations of trips, events, parties, as well as holidays, one of them being Halloween.”

Tyler Lee, Cancelled Date, 2021, digital photograph.
Edition 1/1
Location: Parkwood Estate, Oshawa, ON

“With my photos, I try to tell the story of growing up and losing innocence.”

Trinity Wishnowski, Watching Cat, 2021, digital photograph.
Edition 1/1
Location: Niagara Park, Oshawa, ON

“There is nothing that beats the love I have for my friends…taking photos helps us capture moments we might not get again.”

Vanessa Legrow Garnon, Hear a Breeze, 2021, digital photograph.
Edition 1/1
Location: Port Perry, ON

“I want to show the history of places and people. I want my pictures to tell a story, I want it to show the emotions of the person and or place in the picture.”Trinity Wishnowski, Watching Cat, 2021, digital photograph.
Edition 1/1
Location: Niagara Park, Oshawa, ON

“There is nothing that beats the love I have for my friends…taking photos helps us capture moments we might not get again.”

Travis Frost, Chase McAsphalt, 2021, digital photograph.
Edition 1/1
Location: Oshawa Pier, Oshawa, ON

“My beautiful friend Chase posing at the Oshawa Pier across from McAsphalt.”

Shivam Puri, Hope, 2021, digital photograph.
Edition 1/1
Location: Whitby, ON

“Photography has helped me with capturing emotional and social issues which has the power to influence and change the world.”

Singh Japneet, Always Together, 2021, digital photograph. Edition 1/1
Location: Oshawa Valley Botanical Garden, Oshawa, ON

“I believe an image is a poem without words and I try to portray stories with my images.”

Sohilahamad Bodar, Facing the Clock, 2021, digital photograph.
Edition 1/1
Location: Toronto, ON

“I tried to show Toronto from the eyes of an international student…if I hadn’t got support from the local community, I would have felt homesickness or not accepted. But I didn’t even feel for a moment that I am an outsider.”

Shahriq Hosain, Food Truck, 2021, digital photograph.
Edition 1/1
Location: Winchester Road Food Trucks, Oshawa, ON

“I created images from the perspective of a man who was raised in the city. I create my personal vision through experiences.”

Emily Ryde, Conquer Darkness, 2021, digital photograph.
Edition 1/1
Location: Oshawa, ON

“I wanted to capture Oshawa and the Durham Region in one common way by showcasing the issue we all share commonly in these times.”

Sarah St. Denis, Arts Origin, 2021, digital photograph.
Edition 1/1
Location: Durham College, Oshawa, ON

“Arts Origin is a look inside what it is like to be attending Durham College as a first year Video Production student. I captured this image inside one of the many photography studios on campus while my classmates and I were learning how to properly shoot portrait images.”

Nathan Thompson, Future, 2021, digital photograph. Edition 1/1
Location: Oshawa, ON.

“Future was shot off of Center and King Streets, arguably the highest traffic intersection in Oshawa. This intersection is near the heart of town and has street art at nearly every block as well as the most active bus routes in town. Future captures a feeling of hope.”

Nolan Drew, Leading the Way, 2021, digital photograph.
Edition 1/1
Location: Durham College, Oshawa, ON

“A crucial piece of Oshawa to a lot of people is the
student life and experience, as well as the locations they spend a lot of time at. I took a long walk around the Durham College Oshawa campus, and got plenty of pictures of various buildings and beautiful things in the area.”

Megan Gibbs, Peering Beyond the Canopy, 2021, digital photograph.
Edition 1/1
Location: Lakeview Park, Oshawa, ON

“As someone who loves nature, the variety of sights and plants the Durham region has to offer is a true joy to explore and discover.”

Matthew Peuker, Fireside, 2021, digital photograph. Edition 1/1
Location: Langmaid Road, Hampton, ON

“Through my photos, I want to show people that even in the times that feel the darkest, when everyone feels alone, joy can persist. I want to remind people of childlike joy and freedom, where even when fear and anxiety exist, we can still stand up, start walking, and live life with smiles on our faces and joy in our day-to-day lives.”

Marissa Finn, Simcoe United Church, 2021, digital photograph.
Edition 1/1
Location: Oshawa, ON

“My husband was a big inspiration behind this work as he is very into history and likes to take our family on trips around town to show us some of his favourite places and tell us some of the history behind them.”

Kyron Maloney, Beach Calling, 2021, digital photograph.
Edition 1/1
Location: Port Darlington, Bowmanville, ON

“Having parents who immigrated from the Caribbean, nice hot weather and beaches was always something to look forward to during the summers. This place reminds me of my childhood summers spent on the beaches of St. Vincent and the Grenadines.”

Kimberly Cooke, Fallin’ with Corona, 2021, digital photograph.
Edition 1/1
Location: Pickering City Hall, Pickering, ON

“The empty benches that would regularly have been filled with friends or families enjoying the fall weather, lay bare and unused due to a virus that attacks us physically and now has wedged a perceptional division in people indefinitely.”

Kyle Mercieca, Social Central, 2021, digital photograph.
Edition 1/1
Location: Riley’s Pub, Oshawa, ON

“When I was in my late teens to early twenties, me and my friends would often go drive and park at the Oshawa parking garage, play some billiards, have a few drinks at the Riley’s Pub, and go on to have a great night. To me, Riley’s was a staple social setting in Durham Region/Oshawa and many memorable nights were spent there.”

Krissha Patterson, Haustvindar, 2021, digital photograph.
Edition 1/1
Location: Oshawa Valley Botanical Gardens, Oshawa, ON

“The great outdoors holds so many mysteries and wonders that we all have taken for granted.”

Duale Mohamed Omar, Kolanji In Front of Graffiti in North Oshawa, 2021, digital photograph.
Edition 1/1
Location: Oshawa, ON

“This photoshoot showcases art, graffiti, fashion, hip-hop, and the urban scene of Oshawa.”

Muhammad Mutahir, Durham College, Leading the Way, 2021, digital Photograph.
Edition 1/1
Location: Durham College, Centre for Collaborative Education, Oshawa, ON

“I took a photo of the CFCE building because it’s part of the campus where I go to study and attend classes. I also like the architectural design of the building and how it stands out compared to all the other buildings on campus.”

Katie OConnor, Peaceful Bridge, 2021, digital photograph.
Edition 1/1
Location: Oshawa Valley Botanical Gardens, Oshawa, ON

“I have always enjoyed the peacefulness and tranquility that parks can achieve, even in the middle of a bustling city, and wanted to capture that peacefulness.”

Jorge Dorado, Little Bentley, 2021, digital photograph.
Edition 1/1
Location: Lakeview Park, Oshawa, ON

“When I moved to Canada, like many, I had to leave behind great loves. One of them was my dog who, due to immigration and COVID-19 restrictions, will not yet be able to come to his new home. That’s why my interest is to honor the love of my canine son by capturing the day to day lives of people lucky enough to have pets, dreaming of soon being one of them.”

Jarvis Perryman, Building and Sky, 2021, digital photograph.
Edition 1/1
Location: Durham College, Oshawa, ON

“As someone from a small community in Ajax, the architecture around our school is breathtaking.”

Jacqueline Mackle, North Church, 2021, digital photograph.
Edition 1/1
Location: Oshawa, ON

“Churches are a big part of my life and I find myself drawn to them, there is so much history there and so many untold stories.”

Jessica Welter, The Mass, 2021, digital photograph. Edition 1/1
Location: Camp 30, Bowmanville, ON

“With every image I took at Camp 30 not only am I telling the stories from our history but I am sharing the image in a new light after many years. The story of Camp 30 is not well known but I hope to help shine more light onto this historical monument with my images.”

Pancham Dhupar, Rainy Day Be Like, 2021, digital photograph.
Edition 1/1
Location: Oshawa, ON

“I am an international student…I want people to see what I see every day, through my photos.”

Hayden A. Bannister, Rusty Mailboxes, 2021, digital photograph.
Edition 1/1
Location: Bowmanville, ON

“Bowmanville. It’s the town I grew up in, the town I saw change from a tiny industrial workhorse to a lively small city. It has the trifecta; strong farms, strong industry, and, more recently, small but strong urban areas. Despite this change, I believe the beauty of this town is in the old rusty stuff.”

Harshit Donter, Kizashi, 2021, digital photograph. Edition 1/1
Location: Uxbridge, ON

“Kizashi” is a Japanese word that means ‘something good is about to happen.’ The title was inspired by the old clock in Downtown Uxbridge and the scene behind it that gave me a feeling that something good will happen.”

Alden Giberson, Bus Stop, 2021, digital photograph.
Edition 1/1
Location: Durham College, Oshawa, ON

“My work explores my personal progression as a photographer but it also showcases my willingness to challenge myself.”

Gemma Mazza, After the Rain, 2021, digital photograph.
Edition 1/1
Location: Rotary Park, Bowmanville, ON

“I’ve always had an appreciation for the outdoors and nature that has since grown a lot this past year and a half. Because of this, I’ve spent a lot more time in parks, paths, and trails where I can experience all kinds of moments.”

Eric Lambert, A Powerful Current, 2021, digital photograph.
Edition 1/1
Location: Oshawa Valley Botanical Gardens, Oshawa, ON

“The river reminds me of the times I would go fishing with my grandfather, or “pops,” as I called him before he passed away six years ago. We would chat and joke around and generally just have a good time whilst we were fishing.”

Faizaan Lockhat, Community, 2021, digital photograph.
Edition 1/1
Location: Whitby, ON

“This photograph showcases community, a key pillar that makes up the Durham region.”

Brianna Stokes, Nature’s Bath, 2021, digital photograph.
Edition 1/1
Location: Oshawa Valley Botanical Gardens, Oshawa, ON

“As we live our daily lives and attempt to find some type of normalcy, I tend to find myself leaning on the beauty of nature to find a sense of peace. No matter how much I have going on or how much is changing in my life, I know I can always take a quick walk around the block or trip to the park and find myself in awe of the beauty that is nature.”

Emilia Cipollone, Tug of War, 2021, digital photograph.
Edition 1/1
Location: Whitby, ON

“I am a mother of rescue dogs and always will be. Helping animals is my way of helping the community, and giving back however I can.”

Emily Radacz, Elliott, 2021, digital photograph. Edition 1/1
Location: St. George’s Anglican Church, Ajax, ON

“I chose to photograph graves in Durham for this exhibition and I focused on group headstones. I couldn’t help but think of the stories these people had or could have had. These are peaceful places where all problems become obsolete.”

Colin Lafond, Autumn History, 2021, digital photograph.
Edition 1/1
Location: Camp 30, Bowmanville, ON

“This photo was taken at Camp 30 while I was walking around taking pictures and noticed the bright autumn colours on the tree nearby. I wanted to document the architecture and different buildings while making it appealing and eye grabbing.”

Connor Agnew, Infinity, 2021, digital photograph. Edition 1/1
Location: Paulynn Park, Ajax, ON

“These last couple of months really allowed me to see the artistic world through a different lens. When looking at the world around us objectively, if that’s even possible, it’s easy to see how we take the community we live in for granted.”

Colin Harrop, Fall Warmth, 2021, digital photograph.
Edition 1/1
Location: Ajax, ON

“Growing up and living my whole life in Ajax, I have never really spent the time to appreciate the colours and beauty of the city. Walking to school most of my childhood I never did pay attention to the scenery and wildlife until going around to shoot photos.”

Andrew Baker, Camp 30 Entrance, 2021, digital photograph.
Edition 1/1
Location: Camp 30, Bowmanville, ON

“For this project I had the idea of going to multiple historic buildings throughout Durham region, but after doing some extensive research over a couple of days I decided to do my project on Camp 30 and my perspective on the camp.”

Bobby Quin, What’s the Buzz?, 2021, digital photograph.
Edition 1/1
Location: Parkwood Estate, Oshawa, ON

“What better way to showcase how beautiful the land around us truly is then by capturing it in motion.”

Analyn Whyte, Through the Wreath, 2021, digital photograph.
Edition 1/1
Location: Oshawa Valley Botanical Gardens, Oshawa, ON

“I enjoy taking photographs of nature….[it’s] where I feel at home. I like the look of trees and water and especially enjoy the look of the sky at sunset and sunrise.”

Dejah Wocker, Johnson & Johnson, 2021, digital photograph.
Edition 1/1
Location: Walmart, Oshawa, ON

“The COVID-19 pandemic has affected us all in so many ways, from an increase in job loss to the death of people closest to us.”

Eva Modica, Best Burgers, 2021, digital photograph.
Edition 1/1
Location: Olympus Burgers, Port Hope, ON

“I wanted to capture the essence of a family run restaurant in Port Hope, as they are the heart of the town.”

David Dixon, Ghost, 2021, digital photograph. Edition: 1/1
Location: Montgomery Park Road, Pickering, ON

“Thank you, mom, for driving me to shooting locations in the cold, in the rain, and at night. You are the best and you make a great ghost.”Eva Modica, Best Burgers, 2021, digital photograph.
Edition 1/1
Location: Olympus Burgers, Port Hope, ON

“I wanted to capture the essence of a family run restaurant in Port Hope, as they are the heart of the town.”

Aaron Lagler, The Lighthouse, 2021, digital photograph.
Edition 1/1
Location: Heydenshore Boardwalk, 589 Water Street, Whitby, ON

“Coping with insomnia for the last few years of my life, nothing has tossed me further into the depths of loneliness during these times than having to face it alone…The thing that pulled me back to reality most was my art. My art confronts solitude as a form of solace, reminding me that it’s okay to be alone, it’s okay to feel alone; sometimes it’s what we need.”

Patrick Chayer, Playtime, 2021, digital photograph.
Edition 1/1
Location: Kingside Park, Oshawa, ON

“This photo is about my life as a child and the places that have had a huge impact on my life.”

Sartaj Singh, Fresh Buns, 2021, digital photograph. Edition 1/1
Location: Toronto, ON

“I recently moved to this city, thus wanted to explore the city life at night.”

Montana Budd-Haynes, Loss Where Hope Once Stood, 2021, digital photograph.
Edition 1/1
Location: GM Assembly Plant, Oshawa, ON

“I tried to capture what I believe represents Durham Region…including the emotional and historical connection that Oshawa has to the General Motors Assembly Plant.”

Ekansh Yakhmi, Workers, 2021, digital photograph.
Edition AP 1/1
Location: Punjab, India

“I have captured farmlands and a scene of harvesting from my community in Punjab, India.”

Jason Kruetzmann, All Roads Lead to Home, 2021, digital photograph.
Edition 1/1
Location: Conlin Road East and Harmony Road South, Oshawa, ON

“It took me a long time to find somewhere that felt like home. Through my teens and twenties, I travelled the country, chasing that elusive “home” feeling. Nothing ever felt right until I moved to Oshawa. The growth and potential of this city is awe-inspiring, and I’m proud to call it my home.”

Natasha Miles, Present, 2021, digital photograph.
Edition 1/1
Location: Port Perry, ON

“Being by the water brings me peace and a sense of calm and connectedness; it is a time of reflection and closure as the waves ripple towards me.”

Norbert Turoczi, Places To Be, 2021, digital photograph. Edition 1/1.
Location: Toronto, ON

“I focused on showcasing my city’s most valued asset, the people who live in it. Toronto is a fast-moving city; no matter the time of the day, there will always be floods of people marching up and down the street.”

Brooke Warner, Woman Warrior, 2021, digital photograph.
Edition 1/1
Location: Oshawa Fire Department Station 1, Oshawa, ON

“As a photographer and a passionate volunteer within my community, I strive to capture important people and places that make a difference in the community. Jessica Crombie is one of five female firefighters in the Oshawa Fire Department stationed at the Department Headquarters, Station One. Each station specializes in a different area of training; Station One specializes in survival training.”

Erik Smith, Tradition, 2021, digital photograph.
Edition 1/1
Location: Dr. Roberta Bondar Public School, Ajax, ON

“This picture captures fond memories of walking to school every day with the community of friends and people I once used to know. I also challenge anyone to visit the baseball stadium at Dr. Roberta Bondar and not find a pop can stuck in the pole.”

Emilie Maltais, Little Adventures, 2021, digital photograph.
Edition 1/1
Location: Oshawa, ON

“As a mother, I know how important each moment and memory can be, and I hope to be able to catch as many as I can so that I may preserve them in time.”

Rebecca Otto, Parkwood Sculpture, 2021, digital photograph.
Edition 1/1
Location: Parkwood Estate, Oshawa, ON

“I am not from Durham Region, so I got to explore and learn about the history of Durham through sculptures. Across Durham Region there is a wide variety of sculptures each telling an innovative story about the history and the life before. For each sculpture I photographed it related in a symbolic way to my life and experiences.”

Michael Mlynarczyk, Construction, 2021, digital photograph.
Edition 1/1
Location: King Street, Downtown Oshawa, ON

“Oshawa is a city full of character, especially downtown, home to great little restaurants, boutiques shops, unique stores, exciting people, developments, and much more. It has its flaws and the potential to be a great place, which I have noticed whenever I’m out in the city, there are constantly updates or improvements being made.”

Kayleigh Algar, Planes of the Past, 2021, digital photograph.
Edition: 1/1
Location: Tyrone Mills, Bowmanville, ON

“Travel has always been a part of me, a part of my culture, and a part of my community…With every passing moment in a new environment, I can see the stories that have been told there. This time, the stories that have been shared all revolve around a mill producing flour and manufacturing lumber in the Durham Region.”

Liam McManus, From The Past to No Mask, 2021, digital photograph.
Edition 1/1
Location: Courtice, ON

“Both sides to the image tell a story…the pandemic was not easy for anyone, including me, so I wanted to show that in a picture.”

Jonathan Miller, Weather Vane, 2021, digital photograph.
Edition 1/1
Location: Windfields, Oshawa, ON

“I think that the story of how the places we live in came to be is most often neglected. Exploring our current living spaces for links to the past is another way that my work attempts to connect history to place.”

Cameron McNeely, Contamination, 2021, digital photograph.
Edition 1/1
Location: Kinsmen Civic Memorial Stadium, Oshawa, ON

“As a new resident in the Durham region, I decided there is no better way of experiencing the area than to explore downtown Oshawa, the heart of this city, and its surrounding area. This photo reflects my first impressions of the city of Oshawa and my experience so far as a new resident.”

Robyn McGrenere, Solitude, 2021, digital photograph.
Edition 1/1
Location: Lakeview Park, Oshawa, ON

“As someone who is not from the area and grew up in Trenton, ON with nature all around me, moving to a bigger city was quite the change. Shortly after moving here, I discovered the Lakeview Park Beach and instantly felt more at home.”

Logan James, Expansion of Port Perry, 2021, digital photograph.
Edition 1/1
Location: Across from Old Simcoe Road and Paxton Street, Port Perry, ON

“While attending Durham College I am living from home in my home town of Port Perry. As an artist and on a personal level I wanted to create a collection of images that show the ongoing development of my neighbourhood… This is a big change for myself and my town, as throughout my life there has been little development of my surroundings.”

Jacobin Mathews, Magician, 2021, digital photograph.
Edition 1/1
Location: Steve’s Leather Fashions, 70 Bond St. W, Oshawa

“I am from Kerala, India where one of my best childhood memories consists of my mother taking me and my brother to a tailor shop every new year for new clothes.”

Taylor Will, The Boardwalk, 2021, digital photograph.
Edition 1/1
Location: Waterfront Park, Ajax, ON

“As a first-year international student living in Canada, taking photos everywhere I go has been one of the best ways for me to not only explore and familiarize myself with my new surroundings in the Durham region, but also help me bring the stories of my new adventures to life when sharing them with my friends and family back home.”

Jaden Howson-Visser, The Art of Staining, 2021, digital photograph.
Edition 1/1
Location: Guelph, ON

“Being born in Guelph and raised by my father who is a portrait artist for a living meant I got to see a lot of the art community at work not only in the public eye but also behind the scenes… This is local artist Lynn Chadwick soldering together stained glass art for a church.”

Bryanna Fudge, Building of Hope, 2021, digital photograph.
Edition 1/1
Location: CMHA Durham, Oshawa, ON

“I chose to photograph the Canadian Mental Health Association (CMHA) building because since the age of fifteen, I have been using their services. Being so young and going through two large milestones was challenging. That building is lifesaving. Walking in those doors, you are welcomed and accepted no matter what your life story is.”

Jacey Boyer, A Century Home, 2021, digital photograph.
Edition 1/1
Location: Port Perry, ON

“When I think about my community, Port Perry, I think about all the historical buildings. There are many across Port Perry and they always catch my eye.”

Stuart Foster, Transit, 2021, digital photograph. Edition 1/1
Location: Durham College, Oshawa, ON

“I documented how I experience Oshawa, and Durham Region as a whole. I decided to photograph a few of my frequent spots around the city, and more importantly how I got there.”

Jacqueline Woods, Home, 2021, digital photograph. Edition 1/1
Location: Oshawa, ON

“My childhood home… helped stimulate my creativity and curiosity for photography.”

Aaron McInnes, Retirement Home Workers, 2021,
digital photograph.
Edition 1/1
Location: Oshawa, ON

“These are my parents who work at a long-term care home as food service aide workers for the elderly… they are the hardest working people I know and a big inspiration to me.”

Jayde Duhn, Fifty Shades of Orange, 2021, digital photograph.
Edition 1/1
Location: Parking garage, downtown Oshawa, ON

“These sunset images that I chose were taken in downtown Oshawa. I took them while on a walk. One of the messages I wanted to convey was that even though we live in a city, it is still possible to see the beauty our earth has to offer.”

Please be sure to visit both the onsite exhibition at The Robert McLaughlin Gallery on display until June 5, 2022, as well as the online exhibition that includes all of the student’s work here

Community Connections

The Robert McLaughlin Gallery (RMG) teamed up with Community Development Council Durham’s (CDCD) Community Connections Program to highlight the experiences of newcomers and immigrants in Durham Region. The Thomas Bouckley Collection, housed at the RMG, has over 3,500 photographs that visualize the history of Oshawa. However, the collection lacks the stories and perspectives of many of Oshawa’s residents. This community project is part of an ongoing effort to address these gaps, and to celebrate the community in its entirety.

The CDCD is a not-for-profit organization that has focused on enhancing the quality of life for individuals, families and communities in Durham for more than 50 years. CDCD’s Community Connections Program gives opportunities for new immigrants to Canada to practice English in conversation circles, learn about their community, meet new friends, and enjoy social events celebrating equity and inclusivity. Together, the RMG and the CDCD developed a community project aimed at giving participants an understanding about the history of their new community, as well as making them feel connected and a part of it. Following virtual workshops, the participants were tasked with taking photographs that capture their lives in their new community, and consider their important role within it. Their contributions are celebrated in this exhibition and will be added to the Thomas Bouckley Collection, upholding Bouckley’s vision to collect images that reflect the continued evolution of Oshawa.

Participants submitted a wide range of photographs including quiet moments, intimate interior views, community events, special locations and family gatherings, reflecting their experiences and daily realities of living in their new community. The RMG would like to thank all the participants for their incredible enthusiasm and willingness to share these important images of their lived experiences.

Come Out, Come Out

Curated by Sonya Jones and Lucas Cabral

Related Public Programming: Keeping Our Stories Alive: Webinar with Raegan Swanson, Executive Director, The ArQuives
Thursday, May 28, 2:00PM (EST)

In November 2019, the RMG invited members of the community to share photographs that represent LGBTQ2+ histories and stories for inclusion in the Thomas Bouckley Collection. This project, presented in partnership with the AIDS Committee of Durham Region and The Totally Outright Program, is part of an ongoing effort to address the lack of diverse representation in the collection, and in historical accounts of Oshawa and Durham Region as a whole. While the Thomas Bouckley Collection has over 3,500 photographs that visualize Oshawa’s history, the collection lacks the stories and perspectives of many marginalized communities. This exhibition, featuring a selection of the submissions, celebrates these underrepresented stories and addresses the omission of LGBTQ2+ representation from institutional archives by adding these contributions to the Thomas Bouckley Collection for future generations.

Currently, the Thomas Bouckley Collection contains images of everything from plane crashes and floods, to snowy backyards and family picnics, capturing a wide spectrum of life in Oshawa. Similarly, the photographs in Come Out, Come Out comprise a range of images from vernacular snapshots of loved ones, to more documentary-style images of community outreach and events, most of which were taken in the last ten years. When Thomas Bouckley gifted his collection of historical photographs, he did so with the intention that the collection continue to grow and document Oshawa’s ongoing evolution. Because history is being made every day, we hope these new additions to the collection will allow future viewers to look back on the Come Out, Come Out contributions and have a better understanding of Oshawa’s shared history.

The need to collect LGBTQ2+ histories and stories does not end with this online exhibition; there is more work to be done. We continue to encourage the public to share stories and photos with us by using the hashtag #ComeOutComeOutRMG. We hope to build upon the images we have already received to continue this important project.

Marc Hall and Jean-Paul Dumond attend prom at Monsignor John Pereyma Catholic Secondary School in Oshawa, 2002. Marc Hall successfully sued the Durham Catholic District School Board for the right to bring his boyfriend to his high school prom. The case made international headlines and Hall’s story has been featured in documentaries, television movies and his story adapted to stage. His efforts were supported by various community organizations, and as a result, he became an icon for LGBTQ2+ rights in Canada.

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Presented in partnership with the AIDS Committee of Durham Region and The Totally Outright Program

Brilliant Impressions

In the 20th century printmakers began to move beyond the small, intimate, and monotone works of earlier centuries to explore scale, colour, and experimental techniques. Spurred largely by wider access to materials, the 20th century saw a burgeoning print scene begin that still exists today. This exhibition features artworks from the RMG’s Permanent Collection that showcase a variety of approaches to printmaking. The works display not only the main methods of printmaking, but also many of the artists included have combined techniques or pushed the medium’s limits in ways that make the works unique and exciting to view. As a printmaker myself, I am drawn to the various techniques, labour intensive processes, and potential for experimentation that is evident in these works.

Printmaking, as a term describes the artistic process of transferring an image from a matrix (the object on which the image or design is formed) onto another surface, often paper or fabric. There are four main printmaking methods: relief, intaglio, planographic, and stencil. Relief printing, such as woodcut and linocut, is when ink is applied to the surface of a block (stone, wood etc.) resulting in graphic images. This technique also offers the possibility of more refined line work, such as in Eric Nasmith’s Great Horned Owl (1980) where carved linework is used to create delicate textures in the foliage and owl’s feathers. Joan Marie Dean’s Isis (1977), with its smooth tones and line work is a great example of intaglio techniques – a process where ink is held in the incised lines of a plate such as with etching or engraving – allowing for a wide tonal range and fine detail.

Kenojuak Ashevak (Inuit, 1927-2013), Sun Owl and Foliage (Lithographs by Kenojuak), 1979, lithograph on paper. Gift of M. Sharf, 1986.

Planographic methods such as lithography are unlike either relief or intaglio as they are printed from a flat surface. In doing so they offer unique opportunities for fine linework, details and a quality similar to drawing, exemplified by Kenojuak Ashevak’s Sun Owl and Foliage (1979) which shows has a quality similar to coloured pencil, combined with smooth planes of colour. Finally, stencil methods such as serigraph use a stencil to block out areas that are not to be printed; passing ink only to the areas that are part of the image, as seen in Lawren P. Harris’ Chevrons #3 (1973) which has layers of coloured lines laid out over the toned paper.

In each technique, there is a high level of technical process involved, from creating the image, preparing the materials, and printing the finalized artwork. Repetition of the steps becomes a type of meditation, yet at each point of the process there is opportunity for exploration and experimentation, allowing artists to push the limits of the medium. Some artists combine more than one technique. For example, Noboru Sawai’s Antique Birdcage (1979) makes strategic use of woodcut and etching techniques to create a highly detailed and colourful image held within the black lines of a cage. This captivating combination of techniques uses various formal strategies to highlight the central image.

From woodcut to etching, serigraph to lithograph, each of the artists in this exhibition have thoroughly explored and experimented with how printmaking can be used to create spectacular imagery. As a fellow printmaker, I see in these works the labour of love behind the brilliant, bold and colourful images that capture life, storytelling, and visual expression.

Tony Urquhart (Canadian, b. 1934), Unknown Landscape, 1965, woodcut and coloured paper on paper. Purchase, 1970.
Lucy Qinnuayuak (Inuit, 1915 – 1982), Mother Bird, 1969, stonecut on paper. Gift of Georges Loranger, 1983.
Mary E. Rawlyk (Canadian, b. 1934), Ironing, 1974, relief-printed etching, serigraphy and off-set process on paper. Purchase, 1980.
Noboru Sawai (Canadian b. Japan, 1931-2017), Antique Birdcage, 1979, etching and woodcut on paper. Gift of Walter Carsen, 1987.
Nicholas Novak (Canadian, 1954 – 1980), Untitled, 1977, lithograph on paper. Purchase, 1977.
Otis Tamasaukas (Canadian, b. 1947), Muskoka Chicken, 1976, etching on paper. Gift of Mollie & Peter Carswell, 2004.
David Milne (Canadian, 1882 – 1953), Waterfall, 1930, drypoint with surface tone on paper. Gift from the Douglas M. Duncan Collection, 1970.
Jamasie Teevee (Inuit, 1910-1985),Young Hunters, lithograph on paper. Gift of M. Sharf, 1986.
Eric Nasmith (Canadian, 1916 – 1985), Great Horned Owl, 1980, woodcut on paper. Gift of Julie Nasmith and Carol Harris, 1991.
Louis Stokes (b. 1941), Boundaries Series/White, 1976, serigraph on paper. Purchase, 1976.
Kenojuak Ashevak (Inuit, 1927-2013), Sun Owl and Foliage (Lithographs by Kenojuak), 1979, lithograph on paper, Gift of M. Sharf, 1986.
Phyllis Kurtz Fine (Canadian, 1924-1978), White Pair on Black, 1974, etching on paper. Gift of the Ontario Arts Council, 1974.
John Lander (Canadian, 1951 – 1992), Landscape with Swans, 1974, serigraph on paper. Purchase, 1976.
John Esler (Canadian, 1933 – 2001), To Climb a Mountain (Gallery Moos Twentieth Anniversary Portfolio), 1978, etching on paper. Gift of Walter Carsen, 1987.
Brenda Joy Lem (Canadian, b. 1961), A Clear Flame, 2008, silkscreen on paper. Purchase, 2009.
Lawren P. Harris (Canadian, 1910 – 1994), Chevrons #3, 1973, serigraph on paper. Gift of Georges Loranger, 1986.
Joan-Marie Dean (Canadian, 1934-2015), Isis, 1977, etching and aquatint on paper. Purchase, 1977.
Anthony Benjamin (British, 1931-2002), Erase Function (Editions 1), 1972, serigraph on paper. Gift of the Ontario Arts Council, 1974.
Lynda Hayward (b. 1941), Weedscape I, 1977, photo-serigraph monotype on paper. Purchase, 1977.

Water Sign: Echoes of Lake Ontario

My fascination with Lake Ontario took hold during the winter of 2019—the first season I spent living in walking distance of the lake. As a white settler who grew up in the Oak Ridges Moraine, I certainly was aware of the lake but, up until that winter, had largely taken for granted its vitality as a life source to the region. Though it occupies the smallest surface area of all the Great Lakes, approximately one quarter of Canada’s population inhabits its watershed. The lake provides drinking water to over nine million people, and is home to countless wildlife and plant species. Over the course of that winter, I began reflecting on how those of us who live in this watershed relate to this body of water, and what shifts when we take time to listen to it. 

When presented with the opportunity to curate a selection of works from both the RMG’s Permanent Collection and Thomas Bouckley Collection, I wondered what stories of the lake I might find, and how artists’ perspectives of the lake had shifted over time. What would artists’ past and contemporary perceptions of Lake Ontario reveal about our present relationship with it? This question is considered throughout the exhibition’s 29 works—ranging across painting, photography and printmaking—which emerge from both collections and span the last 150 years. It is important to note that early to mid-20th century works by European-descendant settler artists make up a significant amount of the portrayals of the lake in the collections and in this exhibition. I find it critical to bring attention to whose lived realities with the lake are largely missing from these portrayals; namely, the profound relationships Indigenous nations have had with this waterbody for millennia. I have intentionally bookended the exhibition with two works by contemporary Indigenous artists from the Great Lakes region, which are featured in the Permanent Collection. Beginning and concluding the exhibition with these works aims to impart a reminder of Indigenous nations’ relationships with the Great Lakes, and their ongoing stewardship of the region.

This exhibition attempts to construct a snapshot of how the lake has been viewed during the last century of settlement and industrialization, from the vantage point of the lake’s north shore in Durham Region. The title Water Sign: Echoes of Lake Ontario surfaced from the strategy I implemented in selecting the artworks, which involved foregrounding representations of the lake where the waterbody seemed to be telling its own version of this history. In looking and listening for signs of life from the lake in the archives, I endeavoured to highlight it as a living force. The works have been grouped by theme as well as medium to bring into focus the lake’s different geographies, and are presented in the following sequence: “Beginnings,” “The lake in front of the lens,” “Reflections in colour throughout the 20th century,” “Oshawa Creek,” “Expansive geographies of the Great Lakes,” and “The lake’s present and future ecologies.” Together, these themes narrate this recent history of representation in the collections, and provide reflection on the historical contexts that shape how we sense the lake today.

Beginnings

This theme considers different beginnings in relation to the lake. The first work, Nanabush and the Giant Pike (n.d.) by Blake Debassige, an Ojibwe artist from M’Chigeeng First Nation on the Georgian Bay, anchors the Great Lakes as vital to Anishinaabe culture. Here, Debassige vividly portrays Nanabush travelling across water, a protagonist in Ojibwe storytelling who is both a culture hero and trickster figure. Although it is unclear which lake this is situated on, Debassige’s work points to how the Great Lakes have sustained and been home to Indigenous cultures and ways of understanding the world for millennia. Juxtaposed with this self-representation of Indigenous culture is British-born settler artist Frederic Waistell Jopling’s idealization of French voyageur Étienne Brûlé’s travels of the Great Lakes thanks to the guidance of Indigenous tribes in Etienne Brule’s Last Lap of the Portage to Lake Ontario, 1615 (n.d). Brûlé was likely the first European to arrive to Lake Ontario four centuries ago.

Blake Debassige (M’Chigeeng, b. 1956), Nanabush and the Giant Pike, n.d., acrylic on canvas. Gift of David and Suzanne Peacock, 2014.

Blake Debassige (M’Chigeeng, b. 1956), Nanabush and the Giant Pike, n.d., acrylic on canvas. Gift of David and Suzanne Peacock, 2014.

F. W. Jopling (Canadian b. England, 1859 – 1945), Etienne Brule’s Last Lap of the Portage to Lake Ontario, 1615, n.d., etching on paper.
Gift of Serry and H. Max Swartz in honour of Sybil and Manning Swartz, 1987.

F. W. Jopling (Canadian b. England, 1859 – 1945}, Etienne Brule’s Last Lap of the Portage to Lake Ontario, 1615, n.d., etching on paper. Gift of Serry and H. Max Swartz in honour of Sybil and Manning Swartz, 1987.

Lotti Thomas’s Prima Terra Nova (1984) narrates the ensuing colonization of Canada by European settlers arriving via waterways and the beginning of mass European settlement. Finally, two maps from the mid-1800s are the earliest representations of the lake in the collections, which both depict the lake as a void, negative space. These maps exemplify a settler-colonial way of seeing water and land from an elevated bird’s-eye view, as something to be controlled.

Lotti Thomas (Canadian b. Amsterdam, 1935 – 2017), Prima Terra Nova,1984, lithography, glitter, fabric and metallic thread on paper. Purchase, 1985.
Sydenham Harbour Map (Oshawa Harbour), 1841, The Thomas Bouckley Collection.
Map of Oshawa – Whitby, 1860, The Thomas Bouckley Collection.

The lake in front of the lens

Taken in the early 1900s, these photographs from the Thomas Bouckley Collection reveal some of the earliest imprints of the lake itself in the gallery’s collections. Presented in black-and-white, with humans largely omitted from view, the lake is foregrounded as a living force. For instance, in Oshawa On The Lake In Winter (1919), a light leak on the photograph’s film can be interpreted as the lake transgressing the image frame; in Ice Formation, Lake Ontario (n.d.), a wave has monumentally crystalized in mid-break. Meanwhile, in Shipwreck (1921), a suspended wave occupies the bottom frame of the image, almost as if, only moments later, it overtook the photographer’s lens. Showing the wreckage of a wooden vessel in the middle ground—likely from a coal barge—the image attests to the power of the lake.

Ed Saunders, Oshawa On The Lake, 1911. The Thomas Bouckley Collection

Canoeing in the Harbour, 1911. The Thomas Bouckley Collection

Shipwreck, 1921. The Thomas Bouckley Collection

Oshawa On The Lake In Winter, 1919. The Thomas Bouckley Collection

Ice Formation, Lake Ontario, n.d.. The Thomas Bouckley Collection

Reflections in colour throughout the 20th century

Here, an array of paintings from the Permanent Collection depict bodies of water during various seasons and times of day. Although not every painting is directly representative of Lake Ontario, these works by Southern Ontario-based artists provide reflections on the nature of water as always being in flux. The sun is dazzlingly reflected in the seascape of William Blair Bruce’s Lake Ontario (n.d.), while Florence H. McGillivray’s Moon Magic (1933) highlights the lunar influence on water’s movements. Season of Frost (1962) by Gustav Weisman uncovers a lake’s icy depths in the cold of winter. Emma May Martin’s Breakers – Ocean or Lake (n.d.) speaks to how easily Lake Ontario could be mistaken for an ocean when looking out at its wide expanse.

William Blair Bruce (Canadian, 1859 – 1906), Lake Ontario, n.d., oil on canvas. Purchased with the assistance of the Government of Canada through the Cultural Property Export and Import Act, 1986.

Florence H. McGillivray (Canadian, 1864 – 1938), Moon Magic, 1933, oil on board. Gift of Joan and W. Ross Murray, 1994.

E. May Martin (Canadian, 1865 – 1957), Breakers – Ocean or Lake, n.d., watercolour on paper. Donated by the Ontario Heritage Foundation, 1988, gift of Mr. and Mrs. Theodore Lande.

E. May Martin (Canadian, 1865 – 1957), Breakers – Ocean or Lake, n.d., watercolour on paper. Donated by the Ontario Heritage Foundation, 1988, gift of Mr. and Mrs. Theodore Lande.

Gustav Weisman (Canadian b. Lithuania, 1926), Season of Frost, 1962, oil on masonite. Gift of the artist, 1995.

Oshawa Creek

This selection of photographs spans a 100-year history of Oshawa Creek, Oshawa’s main watercourse into Lake Ontario. These images of the creek provide glimpses of the broader history of the city’s relationship with the lake and its waterways: as the backbone of industry, as a site of recreation and, at times, an infrastructural hazard. During the second half of the 19th century and early 20th century, the Oshawa Creek Valley was home to booming industry. Many of the industries made use of the creek’s waters for its production and, like in the Don River westward, unleashed high levels of pollution back into the stream, which eventually flowed out into the lake. The creek endured throughout these different periods of the city’s economic activity and today, as we see in Fred Sewell’s photograph Oshawa Creek at William Street (2011), the creek continues to flow south, sustaining the plants and beings that rely on its watershed.

The “Grapevine” Swimming Hole, 1908. The Thomas Bouckley Collection

Spillway Opened to Bypass Warren Mill, 1909. The Thomas Bouckley Collection

Oshawa Creek Flood, 1915. The Thomas Bouckley Collection

Midtown Mall Construction, 1968, Sept. 4. The Thomas Bouckley Collection

Fred Sewell, Oshawa Creek at William Street, 2011. The Thomas Bouckley Collection

Expansive geographies of the Great Lakes

Lake Ontario is critically connected to the wider Great Lakes’ network. Several works in the collections speak to this interconnection through the movement of water, as well as people and goods, across the lakes. In Jopling’s Whirlpool Rapids Illuminated – New York Side (1916), we get a sense of the sheer force of the Niagara River’s enlivened motion, which cascades between Lake Erie and Lake Ontario. In Ed Bartram’s Island Forms (1973) depicting the Georgian Bay, and Valerie Palmer’s Perpetua (1993) set by Lake Superior, we are shown suspended moments of transition set against the rocky terrain of the Canadian Shield, which envelops both northern shores of Lake Huron and Lake Superior. Concerning the industrialization of the basin over the last century, large steam vessels and cargo ships—as pictured in Steam Vessel Leaving Harbour (1910) and Robert Bourdeau’s Ontario, Canada (1985)—have travelled to and from Lake Ontario’s ports throughout the decades to exchange goods across this network, on both sides of the Canada-US border.

Steam Vessel Leaving Harbour, 1910. The Thomas Bouckley Collection

F. W. Jopling (Canadian b. England, 1859 – 1945), Whirlpool Rapids Illuminated – New York Side, 1916, mezzotint and drypoint on paper. Gift of Joan and W. Ross Murray, 1976.

F. W. Jopling (Canadian b. England, 1859 – 1945), Whirlpool Rapids Illuminated – New York Side, 1916, mezzotint and drypoint on paper. Gift of Joan and W. Ross Murray, 1976.

Valerie Palmer (Canadian, b. 1950), Perpetua, 1993, oil on linen. Anonymous Gift, 2015.

Robert Bourdeau (Canadian, b. 1933), Ontario, Canada, 1985/86, silver gelatin print on paper, mounted on mat board 1/30. Gift of Sean Bourdeau, 2016.

The lake’s present and future ecologies

Ecological awareness around the importance of the lake and its integral role in sustaining a complex ecosystem has only increased in recent decades. Eric Nasmith’s Whimbrel Moving West on Lake Ontario (1976) and Barry Smylie’s Communication should come this naturally to everyone (1991) portray examples of the many species who rely on this ecosystem. Don Wotton’s Central Lake Ontario Conservation Authority (2011) documents the authority’s headquarters near the Oshawa Creek, established in 1958 to redress the environmental impacts of industrial activity in the region. Today, the organization continues to ensure the health of Durham Region’s watersheds. The photograph The Delegate Visits the McLaughlin Gallery (2007) by Jeff Thomas, an Iroquois artist from Six Nations Reserve and Buffalo, NY, speaks back to the stereotyped representations of Indigenous peoples and their erasure from contemporary urban spaces. Taken on the front lawn of the RMG, Thomas presents his protagonist Chief Red Robe standing next to the beavers of Mary Anne Barkhouse’s public sculpture Grace (2007) as a testament to ongoing Indigenous presence. Finally, the most recent depiction of the lake in the gallery’s collections is Morris Lum’s Diptych 3 (2017). Lum leaves us with a bisected conclusion with which to consider the future of the lake, its evolving industries and changing climate.

Eric Nasmith (Canadian, 1916 – 1985), Whimbrel Moving West on Lake Ontario, 1976, woodcut on paper. Gift of Julie Nasmith and Carol Harris, 1991.

Don Wotton, Central Lake Ontario Conservation Authority, 2011. The Thomas Bouckley Collection

Don Wotton, Central Lake Ontario Conservation Authority, 2011. The Thomas Bouckley Collection

Jeff Thomas (Iroquois, b. 1956), The Delegate Visits the McLaughlin Gallery, 2007, colour photograph on paper. Gift of the artist, 2009.

Barry Smylie (Canadian, b. 1948), Communication should come this naturally to everyone, 1991, lithograph on paper. Gift of the artist, 1991.

Morris Lum (Chinese Canadian b. Trinidad, 1983), Diptych 3, 2017, archival pigment print on paper. Purchased with the financial support of the Isabel McLaughlin Acquisition Fund and the Canada Council for the Arts Acquisition Assistance Program, 2017.

Oshawa in Bloom

Part of Oshawa’s charm comes from its natural and architectural heritage, which is heightened by the community’s beautiful landscape and gardens. This collection of photographs from The Thomas Bouckley Collection looks back at Oshawa’s historical gardens and celebrates the community’s long and continued tradition of producing beautiful private and public gardens.

Oshawa has various associations that promote community and public gardens, including The Oshawa Garden Club, formerly the Oshawa Horticultural Society, established in 1931. The society has long encouraged horticulture throughout the city and promoted the creation and upkeep of public gardens to enhance Oshawa’s green spaces. Its membership has always had a passion for gardening and are devoted to maintaining Oshawa’s horticultural beauty.

The City of Oshawa is also dedicated to this cause. The landscape team grows all of their own flowers in city greenhouses, designing, planting, and maintaining Oshawa’s many public gardens, flower displays and hanging baskets that brighten the downtown and park spaces. Over the last few years, the city has also increased the number of community gardens located on city-owned land. These gardens are community driven projects run by volunteers and local community groups, with a deep commitment to community engagement and learning. Additionally, Oshawa has been designated a Bee City by Bee City Canada for its commitment to maintaining and developing pollinator-friendly public gardens and amending by-laws to encourage planting and reduce mowing.

For over 20 years, Oshawa has participated in the Communities in Bloom competition. The organization evaluates communities based on landscape, gardens, community involvement and overall cleanliness, and has recognized Oshawa with numerous Provincial, National, and International awards. While these awards honour the recent history of Oshawa’s landscape, these photographs show there is no doubt that the city has always been home to beautiful public and private gardens.

George McLaughlin Home, c. 1905

Formal flowerbeds of perennials decorate the front of the house. This house was torn down in 1910 and G.W. McLaughlin had a new home built in its place.

Robert McLaughlin Home, c. 1880

Hanging pots and window boxes adorn the verandah. The curved driveway is lined by trees, shrubs, and a neatly edged lawn. This residence later served as the St. Andrew’s United Church manse for some years before it was torn down.

F.W. Cowan Residence, c. 1915

In the front of this house is a grand curving driveway and formal gardens. The house is located at Simcoe Street and McGrigor Street, the current site of Adelaide House, YWCA.

The Keddie Home, c. 1898

The Keddie family is posed on the front lawn for a family portrait. Left to right: Mary Keddie, holding a croquet mallet; Will G. Keddie, leaning on a bicycle; Charles K. Keddie, with a lacrosse stick; James Boyd Keddie, seated in a rocking chair; Helen Keddie (a school teacher), standing behind the chair; Jean Keddie, standing on the front steps; Luke Keddie, seated on the grass; Henrietta Ritson Keddie, seated behind him; Arthur Keddie, Standing in the centre of this group; Flora Keddie (mother of Luke), seated on a rocker in a dark dress; Emily Louise Keddie (later Mrs. Tom Henderson), standing on the right. The house is a vine-covered two storey brick with a glassed entrance porch.

War Memorial, Memorial Park, c. 1930

The war memorial that stands today in Memorial Park is due to the efforts of Dr. T.E. Kaiser,, who along with the memorial committee, undertook a massive fundraising drive to ensure a memorial that honours those who served in WWI. It was unveiled on Nov. 11, 1924. The memorial and the surrounding gardens is called “The Garden of the Unforgotten.”

Backyard of King Street East Home, 1960

A rare glimpse of a backyard garden located at 339 King Street East.

Isaac French Homestead, 1895

View of the south facade and yard of this brick two-storey house located on Thornton Road with gingerbread scrollwork around the eaves. In the yard, Mr. French is with his wife, surrounded by the numerous beehives on their property. Other members of the family can be seen close to the house. A young man wearing a cardigan and a straw hat can be seen in the centre background, in front of the clapboard one-story addition to the house.

John Ritson Home, c. 1905

Located at Ritson Road and Olive Avenue, this clapboard house has a large clematis vine covering a trellis beside the front entrance. A well cared for flower garden boarders the perimeter of the house. A wooden walkway leads past the house towards the side yard where there is a wooden windmill, which was built in 1890.

Guy House, c. 1880

This clapboard house located on Sydenham Farm at Bonniebrae Point, near Henry Street and Lakeview Park Avenue has a large front yard full of pruned shrubs and flowerbeds. Two chairs are set on the front porch for looking out to the garden.

Mothersill Home, c. 1890

A picket fence surrounds the Mothersill property that was located at Cedar Street and Thomas Street. Mature trees bracket the view of the front verandah and garden where several family members are seated. All are identified, left to right: Fred Mothersill, Mary Robinson Mothersill, Charlotte Mothersill, Howard Mothersill (son of Eugene), and Eugene Mothersill.

King Family Residence, 1890

William King, a major property owner in Oshawa, purchased this property. Later it became a hostel for men called “The House of Friendship” and later still it was used as a children’s shelter.

The matriarch of the family is sitting in a rocker on the lawn in front of the verandah decorated with hanging baskets.

Mothersill Home, Cedar Dale, c. 1905

Without the space for a garden in the front, this family decorated their home with potted plants and a cascading window box.

Children Posed in Front of Home, 1960

Four children pose in the front garden of their home at 339 King Street East.

Prospect Park, c. 1910

This privately owned park is now the site of Parkwood Estates and Gardens. The grounds were first owned by J.B Warren, who built a large wooden home here. It then came into the possession of W.H. Gibbs, who built his palatial residence that is known as “Prospect House” on this block. Succeeding owners were Colonel Mulligan and Eli Edmondson. R.S. McLaughlin had Prospect House torn down and erected the present Parkwood residence c. 1915.

Note the decorative pathways, gazebo, and electric lights.

Oshawa Fair – Robert Brooks Display, c. 1906

Members of the Brooks family are shown here in front of their vegetable display at the Oshawa Fair, which was held at Alexandra Park.

Blinkbonnie, c. 1883

Owned by John Wilson, this two storey “Regency Style” house located at the south-west corner of King Street east and Wilson Road. The former sea captain had a pond installed in his garden and named the estate Blinkbonnie. In the image, trees and shrubs fill the garden and a man can be seen in the background enjoying a ride in a steam-powered paddle-wheeler.

Robert McLaughlin Funeral, 1921

This photograph was taken at the memorial service for Robert McLaughlin at the Parkwood estate gardens.

Cedar Arch over Simcoe Street North, 1919

A vine covered cedar arch is mounted over Simcoe Street North, directly in front of Parkwood estate.

Picking Raspberries, c. 1892

Several people are seen in Isaac French’s raspberry patch located on Thornton’s Road North East side.

Ellesmere Hall, c. 1880

Ellesmere Hall, built c.1870, was the home of the T.N. Gibbs family. Mr. Gibbs sold the house in 1889 to the Church of England who turned it into a school for girls, Bishop Bethune College.

Ellesmere Hall, c. 1880

View of the walkway leading to the T.N. Gibbs family home. The path is lined with formal gardens. The property was located at Simcoe Street and Gibb Street.

Isabel McLaughlin in the Conservatory, Parkwood, Oshawa, 1948

Parkwood estate has long boasted one of the most beautiful gardens in Oshawa, and at one point had eleven greenhouses and a gardening staff of twenty-four. Isabel McLaughlin is shown sketching in her family’s conservatory, which was built to entertain guests.

Adelaide Mowbray McLaughlin, c. 1950

Adelaide McLaughlin poses in front of a lilac tree in her Parkwood estate garden. She was an avid and knowledgeable gardener who loved to study flower varieties. She would often host charitable events at her Parkwood gardens, and oversaw all of the estate’s gardens and greenhouses.