I take a human head, give it the compound eye of a bee and add liquid metal, circuitry and protective gear. It is a manifestation of texture calling out to be painted, yet from this visual chemistry, a story emerges: a Frankenstein-like creature with its disturbing mixology of humanity, nature and technology who simply yearns for a friend and intimate connection––to be so far from its natural state yet still retain its human needs. Living in a poisoned habitat surrounded by what is unethical, I choose to paint monsters with a devotion to the tiny details of hope.

To be at rest surrounded by a forest full of light and shadow fills me.

Life unfolds through journeys from Point A to Point B, driven by our fears and desires. Yet, amid these travels—whether physical, mental, or emotional—we encounter transformative moments: a captivating sunset, the scent of lilacs, a gentle breeze. These are the moments when the universe blurs the boundaries between self and the world, revealing Point C.

Point C is ever-present, where dichotomy dissolves, and we become part of a larger whole. My art aims to activate this pivotal moment, where tangible realities transform into abstraction, dissolving the barriers of dichotomy and inviting unity and connection.

When I walk through the trails on the McMichael grounds, I always feel a sense of peace and stillness. There is an interplay between light and shadow which is almost spiritual in nature.
It forces one to contemplate an inward journey.

I painted on the edge of Humber, just off the trails attached to McMichael Gallery. I watched a Great Blue Heron fishing and thought about the history of the Humber, and our interactions with our waterways. The hydro transmission tower popping through the tree line, hovering ominously between the trees, betrays nearby urban sprawl. As a kid I loved the structures, pretending they were robots popping up in fields. Every time I see them now I think about how Ontario Hydro sprayed Agent Orange under the hydro corridors across our province and the ecological ramifications of our actions.

In the early autumn sunshine, the great canopies of gold and green trees cast the weathered planks of Thomson’s Shack in a vibrant shade reflecting hues of violet, purple, and magenta. A coloured pencil sketch captures my child-like awe at the glowing spectacle.

This is an emerald ash beetle.

This fox lost its home because of all the houses being built.

We studied the Group of Seven during the pandemic. Their artwork made me excited to see the natural forest through their eyes.
After years of lock down, wandering through the winding, secret paths was refreshing. I loved how the sunlight fell onto my path, peaking at me through the trees and highlighting different plants, trees.
I am very happy to capture my experience. It has been an exciting few months of “First experiences”!! As I enter my first year in high school, this was my first time using acrylic paints, and creating my first landscape painting, en plein air.
Thank you! Merci!

In April, I traveled to Canada and visited the McMichael Museum. When I came back to Cuba, inspired by my memories I made a painting of the surroundings of the museum. In my work, I wanted to show the spectacular nature barely touched by pollution. I used very bright colors to show the diversity and beauty of nature. The coyote is a link between indigenous traditions and modernity. It is guarding the site, he is keeping the magic of the wild nature against the climate change and industrialization. It is also a call to action for humankind to preserve our planet.

Wade Hemsworth paints landscapes in oil, primarily featuring natural scenes from Algonquin Park and its surrounding area and from Hamilton, Ontario, where he lives. Hemsworth, whose work was shortlisted for the competition in 2021 and 2022, has studied plein-air painting with Catherine Gibbon and Marc Grandbois.
This painting features an early-October scene beside the Humber Trail just beyond the grounds of the McMichael Canadian Art Collection. It illustrates humankind’s impact on the natural environment and nature’s gentle reclamation of a felled tree and stump.

I fell in love with landscape painting in the Algoma forests north of Lake Superior in 1992, my graduating year at Ontario College of Art. It was there that I learned that landscape painting reflects the Canadian social and environmental impact and identity.
I am so glad to be able to continue painting on the shores of the Humber demonstrating the need to foster environmental conservancy after the countless natural disasters of the past few years.