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“I’m very conscious that it’s a colonial building, and we’re an organization that is devoted to inclusion and belonging. We really wanted to give some thought as to how we could use art to express pluralism on the walls of a building that, in a way, [is] related to some really troubling legacies of our past.” — MEREDITH PRESTON MCGHIE, SECRETARY GENERAL, GLOBAL CENTRE FOR PLURALISM
art to express pluralism on the walls of a building that, in a way, [is] related to some really troubling legacies of our past.” McGhie’s team reached out to the Art Bank for support, eventually renting 24 artworks. A full-suite turnkey service, the Art Bank takes care of framing, preparation, delivery, and installation — but before any of that, it provides clients with an in-depth consultation. “I felt like they understood what we were trying to get to very, very quickly,” McGhie says. “It was just a wonderful way of them bringing their extraordinary, encyclopedic knowledge of their collection and what it means, with our lens of pluralism.”
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As well as picking the art pieces, Huxtable worked with the Centre to brainstorm where each piece should be installed —
something that sounds simple, but takes a lot of thoughtful planning to ensure the right artworks are in the right space for visual impact, and to prevent the art from damage by traffic flow or light sources. McGhie shares an example of an artwork by George Littlechild from 1993: a photograph of his mother as a young girl at an Indian Residential School, with the words ‘Never Again’ written at the top. Originally a black-and-white photograph, Littlechild has created an unexpected contrast by treating the image with bright colours. At first, the artwork was placed next to the lower elevator of the Centre — but after consideration, it was relocated to the lobby. “It’s the first piece of art that you see, and we felt that was really important,” McGhie says. “It’s [reflecting] a moment we are living in Canada right now.” In the well of the Centre’s elevator hangs a piece by Fabian Jean, whose parents immigrated to Canada from China. The painting, titled ‘New World’ (2008) shows a stage-like setting, with a young woman rowing a boat. Her expression is difficult to interpret and there are references to Asian and European elements within the painting. “It’s exceptionally unsettling,” McGhie says. “It’s one of those pieces where you’re not sure if she’s coming or going, [and] she looks anxious. “This piece takes up all the attention in a wonderful way. We thought this piece was important because of the themes of migration, diaspora, identity, and experience. We gave a lot of thought to the placement of this piece and we chose an elevator well, where visitors and staff can take a moment for intimate reflection.”
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