Syrus Marcus Ware Interview Transcript Interviewer: Ok, thank you so very much for meeting us Syrus. Syrus: Thanks for meeting me. Interviewer: So, we are so excited to talk to you about your mural project. We’ve seen them in the Village for how many years now? Since when? Syrus: Since 2014, 13/14. Interviewer: Amazing. And there’s eleven of them? Syrus: Yes. Interviewer: Amazing, they’re beautiful. Syrus: Twelve. Interviewer: Yeah? Syrus: I think twelve. Interviewer: So before you sort of tell us more about the content of the murals and the sort of experience of it we wanted to hear more about the process. Can you sort of tell us about the sort of process of collaboratively creating this series of murals where so many artists were involved? Syrus: Yeah, so it started with, Counsellor Wong-Tan & James Fowler and I put out a call for submissions and the idea was to create a series of murals that would tell the stories of the Village, we were particularly interested in telling the stories of those who are sometimes marginalized from mainstream narratives of queer history. So I was certainly looking out for that when I was looking through the submissions. We actually got 68 submissions, which, sometimes we say was 69 because it sounds funnier and more àpropos, but actually we got 68. And then we had a team of reviewers, Elizabeth Sweeney, John Rubino, Remy Huberdeau who reviewed all of the submissions and then we widdled it down to a selection of people. The way that we did that process, was sort of thinking about artistic merit, thinking about political content and sort of history working in the community and we were able to make this decision that sort of short-listed it down to maybe 25. Then those 25 people we had an open town hall meeting, we had invited a bunch of community members, elders, activists who had been organizing in the city and around the city for in total maybe 40 or 50 years, was maybe the person who had been doing organizing for the longest and people who had been organizing for a day. Everybody came together and we got people to tell stories about what they thought was significant about what had happened in the neighbourhood. So like Monica Forrester told stories about Maitland and about this particular organizing that they had done, you know in the late 1980s. Billy Merasty told stories about you know the rally after the bathhouse raids and him going up to the doors of the legislature, stories about two-spirited people of the First Nations, organizers talked about Desh Pardesh there was people just telling all these different stories. All of the artists were present at this meeting, all the 25 short-listed artists and we invited them to take as many notes as they could, ask a lot of questions, take in the stories, engage with the stories and then come back a week later with designs based on what they heard. So they all came back, we invited all of the elders and community members back and the artists on the second day presented their proposals. So there was 25 proposals for 25 options, 25 murals, that told a variety of different Syrus Marcus Ware Interview Transcript stories that the artists had heard and so they presented their work, some were stronger than others, some were more reflective or contemplative of the stories and the histories that had been shared so there was a variety of different things that made each proposal stronger or weaker and we had a really tough decision. We had to figure out from that 25 how we were going to get it down to the final 11. So we took feedback from the elders and the community members and they helped to make the decision and then we were able to ultimately select 11 artists teams. I am suddenly blanking on whether it was 11 or 12 but let’s say 11. Most people worked solo, but there were a couple of collaborations, like Red Dress Productions worked together, Nadijah Robinson & Elixir Elliot worked together, so that’s what we did. The next step was to get all the homeowners and property owners on board so we did a lot of consultation with the building owners, probably 6 or 7 months, that was a big, big part of the work, was getting the permits and getting walls and getting all of that stuff sorted. And then the artists began working, they created these 11 murals and together they really do tell a story that isn’t always told about the Church- Wellesley Village. Interviewer: Amazing. Thank you. Can you describe the content of a few of your favourite murals that were made by and represent QTBIPOC lives and histories? Syrus: Absolutely, my favourite, I really connect with something different in each of the murals. I think that all of the artists tell a bit of QTBIPOC history, some more explicitly than others but certainly the things that stand out, I mean I love the work that Nadijah Robinson & Elixir Elliot did together. It was Nadijah’s design and Elixir helped with execution, and it told the stories of artists of colour and performers of colour from the 1950s until today and it was a really beautiful mural, it’s a beautiful concept and they are sort of floating in this blue-like sky, but it’s significant because that particular mural is on the outside facade of Crews & Tangos and that was an area, that was a bar that had had a controversy in the early 2000s where there was a ban on music by artists of colour or music that was perceived to be attractive to communities of colour like hip- hop or reggae. So it was significant to have that particular mural in that site and that specific space. Meera Sethi’s mural, which is at the corner of Church & Wellesley it’s, sort of, that intersection is so significant, people have strong claims on that intersection and her mural is inspired by South-Asian textiles and references specifically the history of Desh Pardesh and being sort of central to organizing in the 90s and early 2000s of QTBIPOC history in Toronto. So to have that at Church & Wellesley is important, and it’s beautiful it takes up the whole building, the south facade of the Novak pharmacy. And then Natalie Wood’s piece which is just in the alley just around the corner, that involved two stages, getting people to come together to kiss, and she photographed them. And then doing a whole bunch of research into the books by lesbians of colour and queer people of colour that had significantly impacted the people who were kissing’s sort of journey and life and understanding of the world and then she references this Gran Fury poster that says “Queers are here. Get used to it.” and there were these people kissing, there was maybe four sets of people and in this mural that Natalie has created she also has these silhouettes of people kissing, very reminiscent of that Gran Fury poster, but their silhouettes are filled in with the book covers of all these books that were so significant to people. You know, like Carol Campers Miscegenation blues and Shani Mootoo’s Cereus Blooms at Night and other books like that, very important at this time, especially when there’s so few queer bookstores and independent bookstores and how that role of places, like the Toronto Women’s Bookstore, the This Ain’t the Rosedale Library, the Sister Vision Press played such an important role in queer history here. I really love those three, but as I say there is something in all of them that, Red Dress Productions, theirs is a mosaic and it specifically references a story that Monica Forester was telling about trans women of colour and sex worker activism and their character they call Ella and she’s standing with her fist in the air and she’s holding a red umbrella and it’s a really Syrus Marcus Ware Interview Transcript beautiful mural, it’s actually on the facade of the women’s specific or women’s only Toronto community housing building which is south of College. It’s great. Interviewer: One thing we were talking about before, was we were wondering about in getting those permits, did the owners have any sort of say in what the content of the murals were or did they sort of hand over the rights to the ? Syrus: Most of the owners didn’t have any interest in giving curatorial feedback or like content- based suggestions, except for Crews & Tangos, because they love blue and blue was a big part of their colour scheme so they were like ok if you’re going to do blue as a background, could you do this particular blue, this royal blue because it’s our colour. And then Novack’s pharmacy, there was, we had to negotiate a little bit around scale because it’s such a huge mural and how much of the brick do you paint and how much do you leave? Interviewer: Right, ok. But otherwise in terms of content you didn’t have any feedback? Syrus: No, but the 519 mural, which was the last mural to go up, they gave, feedback. They wanted to make sure that the mural reflected a really wide age diversity because of who uses the 519 and because they have everything from infant programs to seniors programs.