<Gradation> was the winning design for the “Create Your Path” mural competition hosted by the City of Toronto’s Street ART (StART) program in 2017. The 12,000 sq’ artwork is located on the West Toronto Railpath across from the Bloor Station of GO + UP transit.
<Gradation> transformed a banal building facade through a series of successive colour changes – painting 14,508 cinder blocks individually and distinctly in variations of blue and green – in order to better integrate the building into its adjacent landscape and create a dynamic mural as varied as the movement of its surroundings.
The vegetation adjacent to the wall played a key role in the overall design. The paint formed an outline of the existing trees, shrubs and vines growing on the wall to become a “growth marker” or means to monitor the progress of vegetation over time.
The region of West Toronto Railpath has always been a route of conveyance – historically as a portage route (called the “Carrying-Place Trail”), then a railway and now as a recreation trail – and continues to be a path that knits together varying neighbourhoods of the city. The Mohawk term <toron-ten> meaning “the place where the trees grow over the water” refers to this past and present history by informing the colour progression of this art installation.
GLOW is a dynamic art installation that creatively explores the subtleties of light and shadow using luminescent cord. Located at a neighbourhood bar in the Junction Triangle (Toronto), this window display enhances the soft qualities of light formed by the venue’s namesake, The Gaslight.
The front windows of the building are filled with a web of luminescent cord focusing the view on an elevated lantern. Arrayed in a geometric pattern evoking beams of light, the cord illuminates from an installed black light. The spill-over of light from busy Bloor Street and the adjacent intersection also illuminates the cord intermittently and creates curious shadows that permeate through the venue.
By day, the artwork forms a complex visual display. By night, the luminescent cord is activated by its dynamic surroundings. Referencing the gaslight as a welcoming beacon, GLOW creates an ambience of warmth and respite, to invite pause and participation.
Intended as a temporary installation for the Toronto Offsite Design Festival 2017, the artwork is now on permanent display.
Following the success of the <GRADATION> mural (Toronto), the building owner commissioned me to design and implement an artwork for the two loading doors on the north side of the building, which were prone to graffiti.
As a play on the larger mural, I decided to inverse the colours and refine the colour palette with more subtlety and finesse. The horizontal lines of the folding metal doors exposed the colour gradient at a different intervals. The inverse colour scheme allows the viewer to experience different colours when passing by the loading doors (variations on green) or larger mural (variations on blue). Since installation, it has become a popular selfie spot!
Following these two recent mural projects, I now have a Working-at-Heights and Elevated Mobile Platforms certification and am comfortable operating a 60’ boom lift. A few things I never pictured myself doing :)
Mural assistance provided by Pete Ellison. Check out his fantastic work at peteellison.com
Signage & Wayfinding
A local developer was looking for signage and wayfinding strategies for their renovated building in Toronto. I designed exterior and interior signage to increase visibility in the primarily residential neighbourhood and put a fresh face on a tired office building.
The interior wayfinding signage was created from blackened steel plate with cut-out numbers and backlit with LED lights. The wall was painted to match the accompanying artwork and create a reenergized and inviting lobby.
Colorography is a line of unique and personalized objects that tell the life story of a loved one - through color. Designed by Lynnette Postuma, these objects are inspired by Michele Bernhardt’s book “Colorstrology: What your Birthday Color says about You”.
The Timeline Scarf is a creative version of a family tree – one based on birthday colors. By incorporating the names and colors of family members, significant events and places lived, the Timeline Scarf makes a beautiful gift that will honor the legacy of your loved one for their significant occasion.
Lightweight, washable and printed on fine weave poly-chiffon. Size is 63 x 203cm or 25"x80".
Also available in prints: 33 x 102cm or 13”x40” and pillows 50 x 50cms or 20”x20”.
Turn-around time is 2-3 weeks. Contact Lynnette Postuma for inquiries and/or pricing.
Colorography.com (coming soon)
water wuz here
“water wuz here” was a process-based installation that visualized the momentary presence water in the urban landscape. For four days, the plaza surface at the Dufferin amphitheatre (Toronto) was soaked with water and, as the moisture evaporated, hand-drawn chalk outlines traced the edges between wet and dry. These contours of moisture were intended to reveal and memorialize the process of evaporation and allow the viewer to consider a product of this perpetual but nearly imperceptible process.
The exhibit allowed the rare opportunity to explore process as well as product. This installation focussed on subtle hydrological processes at work within an environment that is continually pressured by increased storm intensities, decreased permeability and related stormwater management issues. “water wuz here” was a slow motion and visual revelation of water’s presence in the urban landscape.
Temporary installation for “Grow-Op: Exploring Landscape and Place” at The Gladstone Hotel, April 2014.
Lecture for the LUMINATO Festival’s event “Tomorrow Talks” at the McMichael Gallery in June 2014.
Publication in World Landscape Architecture magazine, June 2014.
Concrete – asphalt – wood – plastic – trees – soil – granite – stone – gravel – sand – water – steel – aluminum
Typically, the materials experienced in the landscape are hard. Public parks are designed for play and for gathering, for sport and for leisure. But they are not programmed for softness, coziness and one element that separates inside from outside: comfort.
What if a park could include elements of comfort, softness and texture?
The purpose of “Textured Landscapes” is to design and install soft interventions in a park in order to introduce alternate textures and provide elements of comfort into the public realm.
This is an unrealized design idea, looking for a home.
In collaboration with fellow Landscape Architect, Amy Turner
A fallen tree decomposes slowly in a forest; the grooves of its bark deepen and hollow. Now positioned horizontally after years of standing tall, it rests and releases - giving itself back to the earth. The contours of its decay are knit together with a garland of dried baby’s breath that acts as a burial shroud. By highlighting its aging lines and state of deterioration, the lifeless tree is memorialized and celebrated.
Baby’s breath (gypsophila spp) has long been associated with floral arranging practices and used to symbolize purity, innocence and everlasting love. The embedded meaning of this garland and its material appears suggestively out of place within this natural setting. At question is this intervention act, and whether we are above or apart of the anticipated progression of decay. By applying culturally significant practices and materials to landscape settings, the artwork celebrates the natural process of decline that occur around us - constantly, continuously and nearly imperceptibly.
Garland was a temporary installation completed in High Park (Toronto) spring 2017. The tree was selected for its size, beauty and location - surrounding an emerging forest floor.
This planting installation entitled “From Brown Spots to Black Eyes” was completed at an office building in Winnipeg in order to enliven the setting of its large yellow sculpture. Persistent problems with the surrounding grass necessitated a reduction of mowed areas. Rudbeckia fulgida (Black-eyed Susan) was planted in a sinuous pattern according to the existing brown spots. On one side of the plants, the grass was to be mowed regularly; on the other, the grass left to merge with adjacent forest. The existing “Suncatcher” artwork was complimented by the perennial’s colour and texture.