https://www.hadleyhowes.ca/work-jasper daily 1.0 2026-03-29 https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509906479395-PVKJRCQ1KXMSWD90SN8D/05-Howes-GardenofFutureFollies.jpg Work - Garden of Future Follies, 2016, Hadley+Maxwell Bronze, stainless steel footings, granite pavers, lighting, Site size 1900 cm x 2200 cm, 7 sculptures, max. height 350 cm, Toronto, ON Garden of Future Follies The Garden of Future Follies is a sculpture garden that brings together elements from over 80 existing public sculptures and architectural details from around the City of Toronto. To create the garden, fragments of existing Toronto sculpture were cast using a Cinefoil casting technique – pressing material directly onto a sculpted surface – to generate over 150 unique impressions that were subsequently cast in bronze. The resulting sculptural collage invites visitors to imagine their own configurations as they visit not only the Garden of Future Follies, but also other sites around the city, inspiring acts of co-creation beyond a single site. Much of Toronto’s public sculpture commemorates colonial power and reflects the permanent dwelling of dominant histories throughout the city. They are often larger than life and out of reach. The Garden of Future Follies adjusts the hierarchy, scale and orientation of these sculptures, freeing existing figures to be re-imagined by the public and to challenge the limits of our political, social and architectural imaginations. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509909479604-5GPDG96Z6N4F1XNXHDMX/BoS2.png Work - Manners, Habits and Other Received Ideas, 2014, Hadley+Maxwell, Cinefoil, steel, magnets, 6 sculptures, max. height 550 cm, 19th Biennale of Sydney, Australia Manners, Habits and Other Received Ideas Commissioned for the 19th Biennale of Sydney, Manners, Habits, and Other Received Ideas brings together over seven hundred pieces of cast Cinefoil to form six distinct sculptures. The fragments were made by pressing the matte, black foil into sections of existing public monument throughout the city of Sydney. The fragments are then re-arranged on steel frames that echo the architecture of the Victorian era rail yard in which they are exhibited, creating surreal, dramatic, and uncanny figures who share a logic of inversion. Shadows from the six sculptures are cast dramatically against the floor and walls of the space, inviting visitors to consider the performance of public memory.   https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509916582832-VYVZGBXP4MJL1TQ4HY5W/Stanley1.jpg Work - About Face, Proposal for the City of Vancouver, 2017  About Face (Proposal) Statues of Captain George Vancouver and Lord Frederick Stanley preside over their namesakes, the city and the park respectively. These monuments are part of a future that will have had to have happened, that is, the performance of a future that hasn’t happened, but must. How will these monuments be mobilized in support of the work of reconciliation being done throughout the city? About Face follows Call to Action #47 from The Truth and Reconciliation Commission that calls on governments at every level “to repudiate concepts used to justify European sovereignty over Indigenous peoples and lands, such as the Doctrine of Discovery and terra nullius,...” About Face repudiates these concepts by turning each statue 180 degrees, thereby changing both the conditions and significance of their display. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509911042501-K6AO9K32C7WVICCQD83Q/SkiesoftheHeart-etel.jpg Work - Skies of the Heart, 2012, Hadley+Maxwell, scaffolding, lights, wooden limbs, paint, copper, tin, 5-channel sound, 5 towers, max. 800 cm tall; 5 lamps, max. 200 cm long, 4th Marrakech Biennale, Morocco Skies of the Heart Voices: Etel Adnan, Fatima Belkouch, Rime Mrini, and Peaches Commissioned for the Marrakech Biennale, Skies of the Heart is an immersive installation that brings together elements in light, sculpture and sound. Visitors walk between the sculptural scaffolding at ground level, or experience the work from above via a stairwell and mezzanine. Five original, hand-crafted lamps cast patterned light throughout the installation, transforming the exhibition space – the foyer of the Théâtre Royale – into a private space of reflection that hovers between the sacred and the secular, a space of both contemplation and reverence. Sound plays from speakers located inside each lamp, transmitting six songs about devotion and love. Through recitation each singer shares in giving voice to the Skies of the Heart. This work involved collaboration in many languages and forms, from recording the singers to negotiating the production of each lamp to building the whimsical scaffolding, the resulting installation is a collective endeavour in both translation and expression. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509926496486-4KK9XU8NEOJMPHYZWBHU/How-To-Cast.jpg Work - How to Kill a Buddha (and Other Received Ideas), 2013, Hadley+Maxwell, Exhibition venue: Material Information, Bergen Permanenten Arts Museum, Norway. Cinefoil, steel, magnets, max. height 260cm How to Kill a Buddha (and Other Received Ideas) This series of sculptures echo and respond to the antique Chinese sculptures of Buddhist figures collected by Walter Munthe, now housed at the Permanenten West Norway Museum of Decorative Art. The works are assemblages of sculptural impressions–fragments “printed” by pressing black aluminum foil onto the more permanent originals–to capture direct, crude impressions of various gestures, poses and symbolic details, evoking ghostly doubles of the marble sculptures on display and creating new figures from objects hidden in the archive. How to Kill a Buddha (and other Received Ideas) is a perverse critique of the colonial practice of collection and preservation, and presents a tactile mode of working with a museum collection or archive. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509915087638-FUGPERE61TKU61TGWNRF/emma1.jpeg Work - Victoria (Acts I, II, III), 2014 Collaboration with Emma Waltraud Howes, Maxwell Stephens and Kim Berit Victoria Acts I, II & III Commissioned for Performance Proletarians at Magasin – CNAC, Grenoble, FR, Victoria explores the relationship between movement, speech and authority. Drawing from research undertaken while creating Manners, Habits, and Other Received Ideas (2014), this performance questions colonial ideologies propagated during the expansion of the second British Empire under Queen Victoria. During the Victorian era concepts such as privacy, family and the home became standard structures of society and were used to judge certain ways of living as uncivilized or amoral. Their effects as we can see have been long lasting. In Victoria, visitors see a body struggling against the oppressive narratives of received ideas. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509915187668-SOJJW81U2SWK6VUB45J1/WTWTCiviliansred.jpg Work - When That Was This, (detail: The Civilians) 2016, Hadley+Maxwell Cinefoil, steel, magnets, LED wall-washers, 6-channel sound Sound and light choreography duration: 21:00 When That Was This Voices: Kai Wido Meyer (reading from the combined English translations of All Quiet on the Western Front by Erich Maria Remarque, 1929) & Lisa Robertson, (reading from The Autobiography of Alice B. Toklas by Gertrude Stein, 1933) Exhibition venue: Special commission for Are you experienced?, curated by Melissa Bennett, Hamilton Art Gallery When That Was This is a theatrical sculptural installation animated by sound, light and video. The sculptures are composed of Cinefoil casts of figurative public sculptures and monuments from seven different cities, reconstructed to form ghostly figures of fragmented bodies. Framed by the recorded texts by Remarque and Stein that describe gendered perspectives on the First World War, the work is a meditation on the violence of ideology and the construction of collective memory. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509916047275-Z3H61WJDJ58ZIW5BWV8T/1.+TheQueen-full.jpg Work - The Queen still falls to you, 2014, Hadley+Maxwell, Cinefoil, steel, magnets, LED lighting, 6-channel sound, duration: 20:54 looped, Project Art Centre with Dublin Theatre Festival, Dublin, Ireland The Queen still falls to you is an immersive sculptural installation animated by a sound and light composition. The sculptures are composed of Cinefoil casts of existing public sculptures and monuments in Sydney, Australia – the current home – and Dublin, Ireland, the former home of the massive sculpture of Queen Victoria who presides at the centre of the installation. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509912059744-RYKD7GR4NHBORVUB42PA/15.BILLYlrnorth2.jpg Work - The Décor Project, Multiple projects in a series, 2001-2006, Hadley+Maxwell The Décor Project is series of collaborative projects initiated in 2001 in which the artists worked with collectors and curators to temporarily create sculptural installations out of (and within) their living spaces. Working from information gleaned from probing questionnaires (#17. Name something you own that you secretly wish your guests could see), the artists rearranged furniture, added artworks, and otherwise altered their subjects' homes, documenting the interventions in a series of large-scale color photographs. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1516226800535-6DPBNGXDXDMTCBXAU7U3/01HH20091plus1minus1lampdrama.jpg Work - 1+1-1, Hadley+Maxwell, 2007-2009 Multi-media installation including colored theatre lighting, wood, fabric, clothing, altered objects, lamps and furniture, collage, silkscreen prints, oil painting on canvas, acrylic painting on vintage clothing, sound, and karaoke video.   1+1-1 is a sculptural deconstruction of Jean-Luc Godard’s film One Plus One (1968) that translates the film into a non-linear, multi-media installation. 1+1-1 uses Godard’s strategies of quotation, re-iteration, and juxtaposition to revive the affect of his original political aspirations. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509914045237-GBM4FSQ4SP4IM2MIGQL2/LR.jpeg Work - Lisa Robertson, 3 Summers, Coach House Books, 2016 - cover and illustrations: Hadley+Maxwell (2003-2017) Performance (Hadley Howes) and Design (Hadley+Maxwell) for Lisa Robertson 3 Summers (cover and interior illustrations) Cinema of the Present (variable cover and 8 print silkscreen poster portfolio) Lisa Robertson's Magenta Soul Whip (cover and frontispiece) Nilling (frontispiece) Occasional Work and Seven Walks from the Office for Soft Architecture (portfolio of images)   https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1516226706476-BEQJNGK3U8ZCWONI9IHQ/SLS-5.jpg Work - Smells Like Spirit, as Hadley+Maxwell, Nuit Blanche, Toronto, 2012 Multi-media installation including 6-channel sound composition, computer software, stage lighting, band gear (the same type of gear originally used by Nirvana), full stage live sound equipment, 48' trailer, silkscreen prints, actors (roadies) Dimensions: Variable, duration 20:48 looped A looping spectacle of sound and light at the loading bay of the Elgin Theatre in Toronto featuring instruments and equipment as actors as Nirvana purportedly loads in, conjuring the spirit of Kurt Cobain and the crowds of fans who idolized him and precipitated his demise. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1515882616966-XJQMWCQ6WAFVEFCEESUL/01+Conference1.jpg Work - Conference at the Council House, with Studio of Received Ideas: bronze, steel, powder-coated aluminum; tower: 250cm tall, birds: 25cm - 60cm; Celebration Square, City of Mississauga, 2017 Conference at the Council House stands at the entry to the Mississauga Public Library and Celebration Square as a monument to the diverse and rich history of the region. The work addresses the migration of the Mississaugas of the New Credit First Nation (MNCFN) who moved in 1847 from their ancestral home by the Credit River at Mississauga to the New Credit reserve in nearby Hagersville. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1554059647590-U14NQZEF3YT7IFI8O4EY/edward-melt-distant.jpg Work - Even Now the Sun The King Edward VII statue in Queen’s Park, Toronto, was originally unveiled in 1922 in Edward Park in Delhi, India. Artist Thomas Brock’s critics questioned the depiction of a Northerner going hatless in the intense Indian summer heat. However, the commissioning Committee defended the design, claiming that “such a defiance of the sun’s power would… impress the people of India…The ruler of the British Empire could properly be shown doing what no other Englishman would do.” The original statue portrays King Edward VII as the sovereign ruler of the Empire “on which the sun never set,” godlike in his ability to withstand the power of the sun. https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1554060671291-BJ3RW5RAJLNLN2PYPFDZ/In-Recovery-Closeup.jpg Work - Age of Recovery (Men's Meeting) https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1658263621558-DQKU0C4EI7CEGIZN2PYN/drawingroom12.jpeg Work https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1509908489576-3VFOATMKPZD2CH0B9DRD/2Z1C4997.gif Work - Take the Cake, 2017, Hadley+Maxwell: printed vinyl, 24 LED wall-washer lights, 120 min. light choreography 600cm x 2000 cm; 12th story (the Beacon) of the Decidedly Jazz Danceworks Centre Calgary, AB Take the Cake Commissioned by Decidedly Jazz Danceworks, Take the Cake is a permanent public mural over 20 meters in length that fills the light-box crowning DJD’s new building in the heart of Calgary’s Beltline. The mural is a representation of dancers’ shadows rendered in bright colours. At night, these high chroma figures are animated by an accompanying multi-coloured LED light choreography, making it appear as though the figures are in movement, dancing across the top of the building.   https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1735932747377-XYJZAH1EN21NCL30AVEZ/Conference-full-3-sm.jpg Work https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1736087598447-PMOJBV2C6D9U74TGSYJ1/of-silly-love-songs.jpeg Work https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/1774744490747-VUNR23ZP6RQM1GG0JQKO/up-to-this-moment.png Work - up to this moment / Mount Dennis Station, Eglinton Crosstown LRT / Hadley+Maxwell / Toronto / 2026 https://www.hadleyhowes.ca/about daily 0.75 2022-07-20 https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/03a591df-8b7d-4e00-afdb-1f6a1e298d82/20150520_093811.jpg About Working on Garden of Future Follies, 2016 https://www.hadleyhowes.ca/recent-news daily 0.75 2025-07-20 https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/c5ce0564-ddd3-4e44-ac9e-54326485e758/Daguerre-blvd-du-temple.jpg Recent News https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/4e2a412b-2afe-4059-ada1-4b2d84118cca/HOWES-figure1.jpg Recent News https://images.squarespace-cdn.com/content/v1/59ff358cbce176412ff00eae/a88b6e1e-d73c-4b42-b496-8da242bb4c9f/dentil.jpeg Recent News