Faculty of Art

Drawing and Painting

Quinn Hopkins

The Misnomer

Tkaronto (Toronto) is the city in which I was born, and it is where I live now. This land is the traditional territory of many nations including the Mississaugas of the Credit, the Anishinaabeg, the Chippewa, the Haudenosaunee and the Wendat peoples and is now home to many diverse First Nations, Inuit, and Métis peoples. As a student, my comprehension of the city is based on habitual observations, interactions, and contemplations that demand a degree of introspection into my symbiotic relationship with the land and its entire spectrum of occupants. I have come to believe that the abundance of clean, fresh water is foundational to this city’s identity, history and prosperity; and, as such, it is a source of inspiration to me. From the indigenous communities that thrived on its shores, to the industrialization that relied on its resources, nibi (water) has played a crucial role in shaping the city's development. In The Misnomer, I aim to highlight the interdependence between Tkaronto and water, while also drawing attention to the challenges that arise from this relationship. In addition, The Misnomer is deliberately a mixed media installation that incorporates various processes, including VR (virtual reality) sculpting, and 3D CAD (computer-aided design), as well as various materials such as found objects, natural river stones and water itself, to create a visceral and immersive experience for the viewer connecting the past, present and future.

“Quinn Hopkins' "The Misnomer" is a mixed media installation that melds ancestral connection with modern urban experience. Through the innovative use of VR, 3D CAD, found objects, natural river stones, and water, the artist explores the complex relationship between Tkaronto, its waters, and Indigenous history.Influenced by their maternal grandmother, Anna Sweeney, and annual visits to Agawa Canyon's pictographs, Hopkins dives into the contradictions and dualities of urban Indigenous experience. The work probes the misattribution of the name "Tkaronto," highlighting the city's connection to ancestral fishing practices and the colonial erasure of Indigenous history."The Misnomer" invites viewers into an immersive realm where traditional and contemporary iconography converge. Pictographs meet emojis, and natural elements collide with urban materials, encapsulating the tension between past and future, natural and synthetic. Ambiguity and wit are woven into the narrative, as Hopkins critiques the urban sprawl and environmental degradation that result from colonial expansion.By embracing cutting-edge tools like VR and AR, "The Misnomer" offers a multi-dimensional experience that honors traditional practices while engaging contemporary audiences. In this artwork, Quinn Hopkins creates a space for contemplation, celebrating the ever-evolving relationship between Tkaronto and its waters, and reminding us of our responsibility to protect this vital resource for generations to come.”