Haydn Llewellyn Davies was born in Rhymney, Wales, in 1921. A Canadian resident since 1929, Davies’ unique mix of Welsh tradition and landscape feature prominently in his work. He studied painting and drawing at the Ontario College of Art and later, sculpture at the University of Toronto.

Although Davies’ first career was in advertising, he left the field in the 1970s. He won his first public sculpture commission in 1974 from Lambton College in Sarnia, Ontario. The resulting work, Homage, made from Western Red Cedar, was Davies’ first large-scale public sculpture. Subsequent large-scale works in steel or aluminum are located at the entrances of the Vero Beach Art Museum, Florida, the Government of Ontario Offices, in Windsor, Ontario, the Burlington Art Centre, Ontario, the Bell Canada Head Office, Toronto, and the Windsor Sculpture Garden.

In Europe, his works are in the permanent collections of the Galleria Nazionale D’Arte Moderna e Contemporenea, Rome, Italy, Museo d’Arte Moderna, Venice, Italy, the Musées Royaux des Beaux-Arts de Belgique, Brussels.

A poster done by Davies during his WW2 service in the RCAF is in the Permanent Poster Collection of the Victoria and Albert Museum in London. Davies passed away in Toronto in 2008.

Since 1970, Peter Powning has lived and worked as an artist in the hills of southern New Brunswick. His life is characterized by intense periods of work preparing for exhibitions and commissions, punctuated by periodic travel. While Powning’s award-winning work is shown internationally, it is permeated with qualities distilled from a life lived close to the silence, space and seasonal rhythms of his home, the fields, forests and shorelines of Canada’s east coast.

Emily May Rose is an award-winning artist and illustrator based in Toronto. Inspired by her own experiences, Emily’s work features a cast of recurring characters (most notably her pot-smoking, pizza-eating raccoons) to depict humorous situations that are relatable to many of us who are trying to survive in an urban environment.

Her work can be found in many formats including murals, editorial illustration, apparel design, installations, and gallery settings. Her murals can be found all over the world where she’s painted in street art festivals, artist residencies, and other commissions during her various travels.

In February of 2016, Emily opened Northern Contemporary in Toronto. The space has since grown to take over the historic Parkdale Theatre building, and is home to an art gallery, event space, and a 30 person studio collective, that she works out of herself. Northern Contemporary hosts all kinds of exhibitions, events, launches, and markets, with a heavy focus on illustration, urban, pop art, and experimental work.

One Day Creative was founded to provide creative and unique solutions and help clients and patrons to bring their artistic and visual ideas to reality. They offer a variety of artistic practices such as custom mural painting, video production, sign painting, logo design, and more. From the drawing board to project execution, they can cover every corner of an artistic undertaking.

Independent Project Managers (IPM) is not a design or construction contractor and has no affiliations with any construction manager, general contractor, trade contractor or union organization.

The company was formed to serve the industry as a project management company so that clients could take advantage of the services being offered exclusively for their benefit, with no conflict being introduced that would favour any particular contractor or trade.

Marlene Hilton-Moore is a self-taught artist born in New Brunswick and living in Ontario. Her work is in numerous collections, including the Canada Council for the Arts’ Art Bank and the Wilfrid Laurier University collection. She has also produced a number of works of public art, including Monument aux Valeureux in Ottawa and Column of Valour, a monument dedicated to volunteer firefighters in Barrie, Ontario.

In 1972, Colette Whiten graduated from the Ontario College of Art and Design, receiving the Governor General’s Medal in recognition of her fine work. In the same year, she exhibited her first cast piece: a wooden structure filled with fibreglass molds of her friends’ arms and legs. Whiten’s figures express the nature of human existence and are primarily concerned with human interaction, particularly power relationships. The artist is also fascinated with the process of art, often documenting her creative flow through photographs and slides.

Over the years, the focus of Whiten’s practice and subject matter has evolved to include explorations into identity and the duality inherent in cast images, the nature of the art object and art making, and political power or everyday violence. Whiten’s larger scale, sculptural pieces have taken years to make as their many intricate pieces are constructed mainly by hand.

Whiten’s public art commissions include a wall construction with figurative cutouts for the Mental Health Centre, Toronto (1978), an award-winning sculpture for the 1988 Calgary Olympics, Weathervanes for Bankers Hall, Calgary (1990-91), and Tender, at the Worker’s Compensation Office, Simcoe Place, Toronto (1994-95.) Both Weathervanes and Tender were collaborations with Paul Kipps, Whiten’s beloved partner.

Between teaching at York University and the Ontario College of Art and Design, Whiten’s work has been featured in both solo and group exhibitions around the world. In 1991, she was the recipient of the Toronto Arts Foundation’s Visual Arts Award and in 2013, she was awarded a Governor General’s Award in Visual and Media Arts.

Upon earning his BA in Visual Art from the University of Western Ontario, Paul Kipps focused his artistic practice in the realm of sculpture. His works were driven by his interest in alienation, shaped by the often exclusive nature of cultural backgrounds, age, gender, class, or place. Kipps explored these concerns through the making of sound, photography, and three-dimensional structures.

Kipps’ work was exhibited in both Canada and Europe, and has been presented across Canada through a number of collaborative public art commissions with his partner, Colette Whiten. Kipps taught for many years, offered his distinct eye in curating, and continued to create up until his death in 2014.

As a child, ​​Artist and engineer Bill Martin knew he wanted to be an artist, but was encouraged to study something that would guarantee him a good living, so he studied chemical engineering at Case Institute of Technology. After Pearl Harbor, Martin enlisted in the Navy where he was trained to be an electronic technician. After the war he earned a degree in industrial engineering at Ohio State University.

Bored with his first job as an engineer, he finally committed to being an artist and enrolled at the Boston Museum School. In order to support his art and his growing family, he took a job in Cambridge where he was recruited to be a member of their “Invention/Design Team” — a select group of seven creative people with diverse backgrounds. During this time he collaborated with architects and interior designers and designed and made unique fountains and lighting for churches and temples, private residences and commercial spaces.

Martin ingeniously created the lighting for five interior stairways of the new National Arts Center in Ottawa where he cleverly invented a way to attach blocks of dalle glass to lines and branches of suspended steel cable. The installation, titled Crystal DNA, includes five hanging glass and steel sculptures ranging in size from 5 feet in diameter by 25 feet long to 6 feet in diameter by 85 feet long. Collectively the five sculptures have over 6,000 hunks of glass each attached to the helical structures by hand. All this was done not only while keeping his day job as an industrial designer, but also while teaching part-time at the Boston Museum School and working as an adjunct professor at Boston.

The Ottawa commission led to many additional major sculptural installations in such public places as lobbies, performance centers, airports and schools in Dallas, Maine, Colorado and Toronto. In his final years, Martin began to write as well and had recently begun a novel based on some of his life experiences. He passed away on June 29, 2012, in Brunswick.

John Boyle RCA is a self-taught award-winning Canadian painter, activist, curator and writer known for his use of subjects drawn from his own specific life experience and from Canadian history. He was a part of the London Regional art movement.

Boyle’s intricate and colourful paintings, dealing mainly with socio-political figures and elements of Canadian landscape, place him firmly within the realm of the Canadian response to the 1960s-era Pop phenomenon.

Boyle lived most of his life in the small town of London, Ontario. After studying at the London Teachers’ College and the University of Western Ontario, he moved to St. Catharine’s in 1962, where he worked intermittently as an elementary school teacher then, from 1968 on, as a professional artist. He also lived for a while in Elsinore, a small hamlet near Owen Sound and now resides in Peterborough.

Boyle initially intended to become a writer, but after seeing an exhibition of the work of Vincent Van Gogh in Detroit in 1962, he decided to concentrate on painting. Largely self-taught, he fully committed to his art, and his unique approach quickly began to garner interest. The artist is one of the few since the early twentieth century to focus on the Canadian socio-political figure outside of the realm of portraiture (Lakeside Park, 1970). Boyle is also noted for his emulation of the colour profile of screen-printing by omitting half-tones from his palette. This gives his paintings a dramatic intensity that reinforces the importance of the presented figures.

Boyle, deeply passionate about artist’s rights, spearheaded the foundation of the Niagara Artist’s Company in 1970 and was the founding spokesperson for CARO, the Canadian Artists’ Representation Ontario, the following year. The artist, whose paintings can be found in major collections across the country, was elected to the Royal Canadian Academy in 1975, received Canada Council B Grants in 1971, 1973 and 1979, and a Canada Council A Grant in 1987.

Matthew Hickey is Mohawk from the Six Nations First Nation and is a licensed architect with 12 years of experience working in an on-reserve architecture firm. He received his Masters of Architecture from the University of Calgary and his Bachelor of Design from Ontario College of Art and Design, winning both the Alberta Association of Architects Presidents Medal and the Medal for Best Thesis, respectively.

Hickey’s focus is on regenerative design – encompassing ecological, cultural, and economic principles. His research includes Indigenous history and the adaptation of traditional sustainable technologies to the modern North American climate. He currently instructs at OCAD U, for the OAA and the Canada Green Building Council.

Jacqueline Daniel is an intern architect at Two Row Architect. She is a graduate of University of Michigan’s master of architecture program and holds a BA in architecture from the University of Toronto.
Two Row Architect is focused on guiding the realignment of mainstream ways of thinking on their journey towards Indigenous ways of knowing, being, design and architecture. The steel sculpture is one of a series of public art pieces at the university that will come to fruition throughout 2022.