Bagh-o-Bahar: Let The Flowers Bloom showcases a new body of work by Sumaira Tazeen that investigates the conceptual discourse of how traumatic events disrupt constructs of identity. Using irises as a symbol of hope, Tazeen reflects on her personal experiences and healing after living through the challenges of an unsuccessful marriage and domestic abuse.
Sumaira Tazeen is a Canadian visual artist, educator, and curator of Pakistani origin. She received her BFA in Miniature painting and Sculpture from the National College of Arts, Lahore in 1996. Since then, her work has been exhibited in established group and solo exhibitions across South Asia, the United States, Canada, Europe, and the Middle East, and has been presented to such influential figures as Queen Elizabeth II and Princess Rania of Jordan. Tazeen is the recipient of a number of awards including the Haji Muhammud Sharif Award for Miniature Painting (1996), the Charles Wallace Trust Fellowship (2004), the Department for International Development Scholarship Award (2003-2004) and Ontario Arts Council’s grant for Emerging Artists (2014, 2016).
Homer Watson House & Gallery acknowledges that it is located on the traditional territory of the Attawandaron (Neutral), Anishinaabeg,
and Haudenosaunee peoples; land promised to Six Nations, six miles on each side of the Grand River.
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The Loch Doon area was memorialized in celebrated Scottish poet, Robert Burns piece “Ye banks and braes O’ bonnie Doon”
Ye banks and braes o’ bonny Doon,
How can ye bloom sae fresh and fair?
How can ye chant, ye little birds,
And I sae weary fu’ o’ care?
Thou’lt break my heart, thou warbling bird,
That wantons thro’ the flowering thorn:
Thou minds me o’ departed joys,
Departed, never to return.
Aft hae I rov’d by bonnie Doon,
To see the rose and woodbine twine;
And ilka bird sang o’ its love,
And fondly sae did I o’ mine.
Wi’ lightsome heart I pu’d a rose,
Fu’ sweet upon its thorny tree;
And my fause lover stole my rose,
But, ah! he left the thorn wi’ me.
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