Welcome to the second year of the Exclusively Inclusive Art Projects, proudly presented by Arts Milton! Following the success of our inaugural year, we’re thrilled to unveil a new endeavour at Hugh Lane.
In collaboration with Milton Town and Red T Kids Media, five accomplished artists are converging to create a vibrant mural on the Hugh Lane sidewalk. Launched in July, this ambitious project aims to transform the space into a visual narrative that honours diversity, inclusivity, and the power of art.
Throughout the creative journey, we invite the community, art enthusiasts, and curious visitors to join us at Hugh Lane. Witness the metamorphosis, engage with artists, and delve into the inspirations and stories behind the mural.
Stay connected through our website and social media for Year 2 updates. Let’s celebrate art’s unifying prowess as we embrace this artistic odyssey led by Aparna Rangnekar, David Anthony, Hope Flynn, Reilly Knowles, and Yen Linh Thai—a testament to the beauty of collaboration and diversity.
All the murals are located at 16 Hugh Lane, Milton.
“Family at Re
st,” a mural painted by Reilly Knowells.
“Family at Rest” portrays the scene of two elderly trans men enjoying a moment of relaxation in a meadow adorned with flowers, accompanied by their dogs. The mural seeks to honor the contributions of the trans elders who have paved the way for the rights and dignity that the community enjoys today. These rights continue to be safeguarded against the backdrop of transphobic resistance. The mural also aims to shed light on the often overlooked queer and non-normative families.
“Love is Stronger,” the second mural painted by Reilly for Arts Milton.
“Love Is Stronger” depicts two elder lesbians in motorcycle attire flying through a stormy sky. Their wings symbolize their freedom to love one another and to overcome reductive gender stereotypes. Reilly has so much respect for women who identify with masculinity and who challenge our society’s limited understanding of womanhood. Many of his role models as a budding queer were butch lesbians (and still are, by the way). He is so grateful to his gay elders for fighting to make the world he has the privilege of living in today.
In Yen Linh Thai’s murals, there are several of Linh’s favourite tropical fruits featured, which are known to grow in Vietnam as well as other regions. These fruits include măng cụt (mangosteen), mãng cầu and mãng cầu xiêm (sweetsop and soursop), trái vải (lychee), and me (tamarind). While these fruits are indeed delicious, they are also seasonal, making it a rare occurrence for Linh to indulge in them. Even when they are in season, it remains a challenge to come across a high-quality batch, especially considering Linh’s lack of fruit-picking expertise compared to Linh’s mother.
The connection to Linh’s cultural heritage is established through food, and this lack of access to culturally significant foods leads Linh to associate it with the potential erosion of cultural knowledge. This link is further tied to the increasing vulnerability of various plant and animal species. Depictions of these at-risk species, including the red mulberry, western chorus frogs, red-headed woodpeckers, King rail, Louisiana shrike, and white wood aster—all of which inhabit the Halton region—are present in Linh’s artwork.
The Exclusively Inclusive murals, conceived by Linh, are intended to shed light on these lesser-known species. Additionally, the murals aim to forge connections between the local community and Linh’s Vietnamese heritage, all while celebrating both aspects. Linh’s mural is a tribute to the unconventional yet delectable foods that hold a special place in Linh’s heart, even if they were referred to by amusing names during Linh’s younger years. The hope is that this mural will spark the curiosity of viewers, encouraging them to explore new culinary experiences and to take notice of the diverse array of creatures that share our environment.
David Anthony‘s mother was adopted at the tender age of 4, which regrettably led to a dearth of information about her origins. Through a heartfelt desire to honor his heritage, his mother and his late grandmother, David made this mural. The poignant reality is that the threads of their ancestral past have slipped through their grasp. This endeavor serves as a representation of David’s indigenous roots and the poignant absence of connection to a fragment of his family’s profound history.
David Anthony designed a South Asian mural as an ode to the affection he’s received from the community. He honours and rejoices in their presence. Discovering that the maple leaf symbolizes the Canadian dream for some of the people he met on his journey, he included it in the mural. The South Asian figures in the mural stand for cherishing their cultural heritage. As Milton’s South Asian community expands, this artwork fittingly embodies their essence.
Aparna Rangreka’s We Grow Together, two hands are in an open and welcoming gesture, signifying a symbolic safe space for everyone to share feelings, thoughts, knowledge and experiences. The two faces are gazing at each other in admiration, in respect and understanding. The flora and fauna surrounding these key features symbolize the harmony and growth arising from awareness of a community’s interconnectedness. Aparna has used a few elements of the Indian folk art form – Madhubani, such as using a double line highlighting critical factors in the composition, stylized shapes and patterns.
Aparna Rangreka’s You Are Here is a work in progress. In this mural, diverse people are standing with arms raised upwards to an arch encompassing all of them. The arch in this artwork symbolizes leaving our old thought processes and embracing new awareness of seen and unseen impact mankind makes by being kind, respectful and inclusive. People with raised arms are communicating a message that each of us belongs under the arch, regardless of race, culture or gender. The lotus-shaped flower in the centre of the arch symbolizes enlightenment and renewal of this understanding. The flowers on both sides signify the blooming of positive thoughts, reflection and environment. The stylized figures and the treatment of flowers have been drawn in an Indian folk art form called Phad from Rajasthan.
In Hope Flynn’s vision, the first mural (with the blue background underway) revolves around the evolution of the autism symbol, known as the “puzzle piece,” which held its significance from 1963 to 2018. During this period, the prevalence of autism diagnoses was 1 in 66. Transitioning to the present(mural with white background which is underway), the new symbol of autism is the infinite symbol, adopted in 2018, aligning with the current statistics of 1 in 50 individuals diagnosed with autism.
Hope Flynn intends to enrich the murals by incorporating additional elements: animals, landscapes, and iconic structures within Milton, all enveloped within the infinite symbol. This artistic fusion seeks to convey why the autism community gravitates towards the infinite symbol. It stands as a representation of boundless potential residing within individuals with autism, encapsulating their endless prospects and unique abilities.
The murals are underway and serves as a testament to Hope Flynn’s thoughtful conceptualization. By intertwining the narrative of autism’s symbolic journey with vivid depictions of local landmarks and nature, the mural showcases a transformative emblem and fosters understanding, acceptance, and admiration for the remarkable diversity within the autism community.