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How a Syrian-born collective is putting down roots in the GTA

What initially began as a case study in experimental employment support for Syrian newcomer and florist Abd Al-Mounim and his family, Waard Ward has grown into a multifaceted collective that works in social practice and community organizing through art. Inspired to explore how her own creative practice could benefit others, artist Petrina Ng founded Waard Ward in 2019. Gathering over shared meals, the collective includes educator Laura Ritacca (who introduced Ng and Al-Mounim), curator Patricia Ritacca, and Al-Mounim’s wife Shoruk Alsakni and daughter Hanen Nanaa.

Waard Ward
Waard Ward

Waard Ward collective. Photography by Ammar Bowaihl.

Floristry and gardening are core to the collective’s work. Its inaugural project was an ArtworxTO commission: a public garden featuring historic varieties of Damask roses indigenous to the Middle Eastern region, plus companion herbs. Significantly, the garden is situated in the parking lot of the East York Town Centre in Thorncliffe Park, which has a high concentration of newcomers.

At the Doris McCarthy Gallery at the University of Toronto Scarborough, Waard Ward’s most recent exhibition features a rose garden based on Islamic designs and traditional architectural forms, but also the family’s garden in Syria. It’s a show that involves even more collaborators, including artist Alize Zorlutuna and architect Reza Nik who contributed his own memories of trips to Iran to the garden’s design, with bouquets created by Arabic speaking newcomers during a flower-arranging workshop led by the collective.

Yet, it’s not only about petals and petals alone. The collective’s flower arranging workshop, led by Arabic-speaking newcomers, produces stunning bouquets that transcend language barriers. Waard Ward’s passion extends beyond the canvas and into the lives of others, bridging gaps within and beyond the art world.

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Okay, but it clearly is

For the first 16 years of my life, the bat cave at the Royal Ontario Museum (ROM)—a reconstruction of an actual cave in Jamaica—was among my favourite places in the city. The cave was decorated with cast stalactites and wax bat models, which hung from the ceiling and threw jagged shadows on the walls. A few other features imbued it with spooky verisimilitude: the drip-drip-drip sound effects, the mirrors arranged to create the illusion of infinite depth, the strobe lights strategically placed to make the shadows flutter. When I visited as a five-year-old, the bat cave scared me. When I visited as a stoned fifteen-year-old, it scared me even more. Then came the renovation.

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