The Exclusively Inclusive Art Projects, spanning two transformative years(2022-2024), have artfully woven together creativity, education, and community engagement. In the inaugural year, traffic box art splashed vibrant expressions of inclusion across Milton’s landscape, sparking engaging conversations through a gallery opening and panel discussion.
This collaborative venture with the Town of Milton and Red T Kids Media has turned our town into a canvas, celebrating diversity, inclusivity, and the transformative power of art. From the lively traffic boxes to the captivating murals at Hugh Lane, the project invites exploration of our community’s rich tapestry. The Government of Ontario provided generous funding for this initiative.
Launched in July 2023, the ambitious Year 2 project aimed to visually narrate the space’s transformation, honouring diversity, inclusivity, and the profound influence of art. Joining us at Hugh Lane, the community, art enthusiasts, and curious visitors witnessed the metamorphosis, engaged with artists, and explored the inspirations behind the mural. All murals were showcased at 16 Hugh Lane, Milton.
Let’s continue celebrating art’s unifying prowess in this ongoing artistic journey led by Aparna Rangnekar, David Anthony, Hope Flynn, Reilly Knowles, and Yen Linh Thai—a testament to the beauty of collaboration and diversity.
In Aparna Rangrekar’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 Rangrekar‘s You Are Here is a mural of diverse people 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 the seen and unseen impact mankind makes by being kind, respectful and inclusive. People with raised arms communicate that we belong 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.
David Anthony‘s mother was adopted at the tender age of 4, which regrettably led to an absence of information about her origins. David made this mural through a heartfelt desire to honour his heritage, mother, and late grandmother. The poignant reality is that the threads of their ancestral past have slipped through their grasp. This endeavour represents 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 embodies their essence.
Hope Flynn‘s murals trace the evolution of the autism symbol from the puzzle piece (1963-2018) to the infinite symbol (adopted in 2018). The murals incorporate animals, landscapes, and iconic Milton structures within the infinite symbol. This amalgamation symbolizes the boundless potential of individuals with autism, showcasing their unique abilities and endless prospects.
The murals, a testament to Hope Flynn’s thoughtful conceptualization, intertwine the narrative of autism’s symbolic journey with vivid depictions of local landmarks and nature. Serving as a transformative emblem, the mural fosters understanding, acceptance, and admiration for the remarkable diversity within the autism community.
Reilly Knowells ‘s Family at Rest portrays two elderly trans men and their dogs enjoying a moment of relaxation in a flower-filled meadow. The mural seeks to honour 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 is the second mural painted by Reilly for Arts Milton. This mural depicts two elder lesbians flying through a stormy sky in motorcycle attire. 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 Growing Here and There, several of Linh’s favourite tropical fruits, known to grow in Vietnam and other regions, are featured. 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 rare 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 amusing names referred to them during Linh’s younger years. The hope is that this mural will spark viewers’ curiosity, encouraging them to explore new culinary experiences and take notice of the diverse array of creatures that share our environment.
Funding provided by the Government of Ontario
