BAKETIGWEYAA is a suspended sculpture composed of five CNC-cut wooden frames with mirrored acrylic inlays, held by steel cables. Inspired by the Two Row Wampum Belt Treaty (Kaswentha), river systems, and tributary formations, the work reflects on peace, mutual respect, and the evolving nature of Indigenous and settler agreements within contemporary urban contexts.

Indigenous Collaborative Mural Projects by Nyle Miigizi Johnston begin with a storytelling session and guided art workshops, inviting participants of all ages to translate shared teachings into visual form. Participants’ drawings are documented and tiled to create the mural’s foundation, layered with Johnston’s imagery and a unifying orange gradient symbolizing a collective step toward reconciliation. Past clients include: The Mastercard Foundation, The Hamilton District School Board, Deloitte Canada and others.

The Petition to the Water Spirits by Isaac Murdoch is a visual reminder of the offerings and obligations owed to the land and to the Indigenous children taken from their homes. Serving as both invocation and call to action, the work petitions for restoration, respect, and accountability. It calls for renewed reciprocity with the natural world and honours the responsibility to bring future generations back into balance with the land.

Kanata Remix: An Indigenous Re-Visioning of Iconic Brands by Nyle Miigizi Johnston reinterprets familiar commercial imagery through an Indigenous lens. By reframing widely recognized symbols, the project challenges dominant narratives and invites critical reflection on identity, land, and cultural representation within contemporary society.

Aambe Giigidodaa Debwewim (Let Us Speak the Truth) by Leigh Simpson-Ahwanaquot is a neon sculpture featuring a radiant mouth encircled by the medicine wheel. Glowing as a contemporary beacon, it calls for courage, accountability, and the revitalization of Indigenous voices. A large scale version was exhibited at Pickering City Hall in Winter 2025/6. The design has been translated into patches, stickers, and smaller tabletop sculptures for interiors, expanding its message into everyday spaces and wearable forms.

The Good Life and Watering Hearts by Isaac Murdoch are large-scale artworks printed on aluminum composite panels and installed within a healthcare setting. Centering Indigenous voices and teachings, the works affirm love as powerful medicine and position healing as both a clinical and cultural practice. Through bold, symbolic imagery, they offer comfort, care, and collective strength to all who pass through the space.

Woodland Test by Nyle Miigizi Johnston and Emmanuel Umukoro is an exploration of Woodland art through AI-generated imagery. Drawing on data sets from Johnston’s artworks, the project reinterprets Indigenous visual language through a contemporary, computer-generated lens, examining the dialogue between tradition and emerging digital processes.

GIDINAWENDIMIN is a 95-square-metre mosaic showcasing Anishinaabe water teachings, where nibi (water) is understood as a sacred, life-sustaining spirit. The work honours women as Water Keepers, entrusted through natural laws to protect and advocate for water across generations. It highlights the sacred feminine and collective responsibility to safeguard land, life, and spirit.

Future Ancestors is an installation located in the Odeyto Building, rooted in Indigenous Futurism and merging Anishinaabe water teachings with a contemporary cityscape. Reflecting on women’s relationship to water and ancestral continuity, the work bridges past and future through a hidden augmented reality activation.

A Trophy for All is a floating public artwork concept that reimagines the language of athletic trophies to celebrate shared participation rather than singular victory. A golden reflective sphere rises from a white water lily, drawing on Anishinaabe teachings of individual gifts offered in service of community. Animated by water and light, the sculpture becomes a collective monument to gathering, movement, and contribution across difference.

Collaborative Indigenous Painting by Jackie Traverse engages participants in the full creative process, from concept development to final execution. Through guided workshops, imagery is developed collectively, resulting in an original painting that forms the foundation for a larger mural. Traverse refines the final composition while preserving its collaborative spirit, ensuring the work reflects both shared vision and artistic integrity.

Interconnection is a large-scale hoarding installation at the intersection of Yonge and Bloor for Tridel’s 1 Bloor Street West. The mural situates the city within a broader ecological and spiritual framework, representing the relationship between humanity and creation and how human actions reverberate across sky, land, water, and subterranean realms.

Migizi by Quinn Hopkins is a large-scale neon artwork inspired by the Seven Grandfather Teaching of Love, represented by the bald eagle (Migizi ). Rooted in Indigenous teachings and realized through contemporary materials, the work stands as a radiant expression of love, responsibility, and spiritual connection.

Wintertime Stories is a 16-metre-long wall sculpture composed of CNC-cut wood and laser-cut acrylic. Drawing on Indigenous storytelling and woodland animal teachings, it reflects on connection, stewardship, and environmental responsibility through symbolic figures of love, celebration, courage, and respect.

A concept for a hanging sculpture by Quinn Hopkins draws on the beaver as a symbol of perseverance, healing, and community in Anishinaabe teachings. Inspired by the form of a beaver lodge, the work integrates wood, mirrors, and light to create a reflective structure that speaks to interconnectedness and collective responsibility.

Gchitwaawendaagod Kiing (The Land is Sacred) by Isaac Murdoch is an Anishinaabemowin and English colouring book accompanied by a video in which Murdoch speaks to each image. Created as a language tool, the project invites learners to engage with Anishinaabemowin while exploring Indigenous perspectives on protecting the land, water, plants, animals, and one another. The book has been used by various school boards, health institutions and the Downie Wenjack Foundation.

Fireside Storytelling is an experiential public sculpture with extended reality activation by artist Quinn Hopkins. Centered on Johnston’s drawing of a grandfather sharing teachings, the work draws from the Anishinaabe winter storytelling tradition. It invites viewers to gather as if around a fire, emphasising intergenerational connection and cultural continuity.

The Travellers is a sculpture made of chrome and stone exploring Indigenous and settler collaboration through contrasting materials and symbolic figures. Juxtaposing reflective and natural elements, the work considers coexistence and shared narratives. By blending tradition and modernity, it invites dialogue about mutual understanding and collective growth.

Standing in Spirit is a concept for a commemorative fire-pit installation that honours Missing and Murdered Indigenous Women, Girls, and 2SLGBTQIA+ relatives. Thirteen linked steel silhouettes encircle the sacred flame, their joined forms creating heart-shaped openings through which the fire burns as a symbol of love, courage, and remembrance Standing in Spirit is a living space of collective memory and solidarity.

Intertribal is a mural and light sculpture depicting a celebratory powwow beneath an eagle (Migizi). Blending spiritual symbolism with contemporary aesthetics, the work centers inclusivity, love, and community. An augmented reality activation animates the eagle through viewers’ devices, extending the piece into a technological reflection of evolving Indigenous culture.

Migizi is a light-activated vitrine composed of multiple layers of etched acrylic on a mirrored platform. The work deconstructs and reconstitutes Johnston’s Migizi drawing through the framework of the Seven Grandfather Teaching of Love. The work is overlayed with an augmented reality installation by artist Quinn Hopkins, extending the work’s spatial and cultural dimensions through immersive engagement.

Seven Grandfather Teachings by Isaac Murdoch is a vibrant series depicting the animals that represent wisdom, love, respect, bravery, honesty, humility, and truth. Rooted in Anishinaabe culture and natural imagery, the works offer calming, meaningful visuals grounded in the belief that art is medicine. The series can be presented in various mediums including printed graphics or 3D cutouts.

Migizi translates Johnston’s drawing into a 3D animated form under Umukoro’s technical direction. The work situates Anishinaabe storytelling and Woodland art within a contemporary technological framework, extending these visual and narrative traditions into new media while maintaining their cultural integrity.

Thunderbird Woman , rooted in Ojibwe tradition, is a protector of the natural world whose love radiates as medicine, defending water, land, and future generations. Isaac Murdoch’s drawings and paintings of Thunderbird Woman extend into 3D sculptural concepts, including outdoor copper works, illuminated acrylic pieces that float on water, and small-scale night lights, each presenting her as a beacon of protection and renewal.

Artwork by Nyle Miigizi Johnston is featured on a Durham Region Transit bus wrap created for the National Day of Truth and Reconciliation. Centering the Every Child Matters campaign, the moving artwork honours the children lost to Canada’s residential school system and carries a public call for remembrance, accountability, and ongoing reconciliation.

Migizi Saves the World is a monumental outdoor sculpture concept that hovers above land and water, referencing the moment when Migizi, the bald eagle, rose to plead with Creator on behalf of those living in harmony with Creation. At architectural scale, the work stands as a symbol of vigilance, hope, and the enduring responsibility to live in balance with the world around us.

Animations by Alex McLeod transform the massive screen at Scotia Plaza into a shifting digital landscape. McLeod constructs hyperrealistic 3D environments of crystalline mountains, molten lakes, and cloudlike forms rendered in a candy coloured palette, merging Romantic landscape traditions with surreal simulated worlds.

Highness Global presents the first Canadian exhibition of Swiss-based artist Andréa Philippon. Based in Lausanne, Philippon creates detailed 3D animations that merge nature and technology, and has collaborated with artists including David Guetta and Björk, with exhibitions spanning from Paris to Tokyo.

Voices Unheard : The Church and Marginalized Communities is a 360-degree projection installation that uses AI-generated imagery drawn from Johnston’s and Nolan’s artworks. The immersive work reimagines a “church” for Indigenous, Queer, and POC communities, layering pattern, plant life, astronomy, and architecture to reflect on past and future possibilities.

Highness Global presents the evocative work of Lindsay Kokoska on the Scotia Plaza screen. Kokoska bridges abstract painting, digital compositing, and AI-generated imagery to explore themes of consciousness, the cosmos, and transformation. Merging traditional techniques with animation and emerging technologies, the work invites reflection on the evolving relationship between inner worlds and technology.

Highness Global curates a weekly art exhibition in the lobby at 2 Bloor Street West for Kingsett Capital. The program presents a rotating selection of contemporary Canadian artists, bringing current art and cultural dialogue into the building and transforming the lobby into an active, engaging public space.

Kente by Emmanuel Umukoro is a motion artwork exploring the emotional and cultural significance of traditional African textiles. Centered on an African mask animated with evolving kente patterns, the work is set within a landscape of abstract forms inspired by Yoruba and Dogon symbolism and ancient rock art. Through layered movement and texture, the piece reflects on cultural memory, heritage, and the enduring visual language of African design.

Copper Shaman Portal by Quinn Hopkins introduces what the artist calls “Hyper Woodland Art,” reimagining Anishinaabe visual language through 3D animation and vibrant pop influenced aesthetics. Centered on the Copper Shaman as a figure bridging physical and spiritual worlds, the work extends Woodland visual traditions into a dynamic digital space.

A Trophy for All is a floating public artwork concept that reimagines the language of athletic trophies to celebrate shared participation rather than singular victory. A golden reflective sphere rises from a white water lily, drawing on Anishinaabe teachings of individual gifts offered in service of community. Animated by water and light, the sculpture becomes a collective monument to gathering, movement, and contribution across difference.

Blossom – 320 is a portrait that reflects a period of personal growth, identity, and transformation. Enhanced through augmented reality, the printed artwork activates a digital animation in which the figure subtly moves as flowers shift, butterflies emerge, and the necklace gently sways, extending the work beyond the canvas into a layered visual experience.

Highness Global presents the work of Corina Lipavsky on the Scotia Plaza screen. Lipavsky is a Venezuelan born digital artist whose practice explores the intersections of art, technology, and nature through code, AI, and electronic media. Her generative audiovisual works imagine hybrid organisms and speculative ecologies, inviting viewers to consider post human and more than human futures.

Fireside Storytelling is an experiential public sculpture with extended reality activation by artist Quinn Hopkins. Centered on Johnston’s drawing of a grandfather sharing teachings, the work draws from the Anishinaabe winter storytelling tradition. It invites viewers to gather as if around a fire, emphasising intergenerational connection and cultural continuity.

The launch exhibition of Triple Slash: /// featured 360-degree projections highlighting the work’s interactive structure. The mixed media project weaves painting, poetry, video, chat logs, emails, and legal documents into a cross-genre narrative tracing a queer artistic collaboration across continents, years, and digital space.

Migizi translates Johnston’s drawing into a 3D animated form under Umukoro’s technical direction. The work situates Anishinaabe storytelling and Woodland art within a contemporary technological framework, extending these visual and narrative traditions into new media while maintaining their cultural integrity.

Artistic installations by Arnie Guha integrate light boxes, contemporary stained glass, and psychedelic imagery to transform interior spaces. Drawing on Indian cultural influences and modern aesthetics, the works elevate architecture into experiential environments. Light and pattern function as narrative media, blending heritage and innovation within the built environment.

Sacred Tags is an interactive projection that merges Anishinaabe language, graffiti, and land-based imagery within an urban landscape. Inspired by traditional rock art and street culture, the work invites audiences to activate hidden words and symbols through movement, foregrounding living Indigenous histories in Toronto’s cityscape.

Thunderbird Woman , rooted in Ojibwe tradition, is a protector of the natural world whose love radiates as medicine, defending water, land, and future generations. Isaac Murdoch’s drawings and paintings of Thunderbird Woman extend into 3D sculptural concepts, including outdoor copper works, illuminated acrylic pieces that float on water, and small-scale night lights, each presenting her as a beacon of protection and renewal.

Digitized Ballroom is a project by Highness Global for the ballroom at the prestigious National Club in Toronto, where traditional portraits were replaced with high-resolution LED screens set within the existing gilded frames. The installation allows for rotating digital artworks, creating space for contemporary artists while introducing greater diversity and inclusion within a historic business club setting.

Gift of the Stars uses AI generated imagery drawn from the artworks of Nyle Miigizi Johnston and Nigel Nolan, under Emmanuel Umukoro’s technical direction. The work explores motion based interpretations of the Anishinaabe teaching that each person is born with a unique gift to offer their community, extending Indigenous storytelling into a contemporary technological framework

Bakwene Makwa brings a vibrant Woodland style bear into the physical world through augmented reality. Tracking the spirit of the bear along a forest trail, the work explores the idea of Digital Land Back and asserts an Indigenous presence across both natural and virtual landscapes. Using the bold lines and inner life force imagery of Woodland art, the piece reflects the enduring vitality of Anishinaabe stories through contemporary technology.

A Walk in the Woods by Arnie Guha is a large-scale video projection created for the Nocturne Festival. Presented on the exterior of former Dartmouth City Hall, the work combines photography, animation, and motion graphics to map shifting imagery across the building’s architecture, moving through water, land, urban and rural landscapes, and into cosmic space.