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Singularity Group and Possible X Launch the Impact Art Movement in Support of Earth Day 2022 – Canada NewsWire



The first magnificent sculpture of the series, Kintsugi Aurea, supports this year’s Earth Day theme, “Invest in Our Planet,” while bringing visibility to the United Nations’ SDG 13: “take urgent action to combat climate change and its impacts.” The sculpture was created by Possible X founder Roksana Ciurysek-Gedir, artist, financier and Chairwoman of the Impact Advisory Board of White Oak Global Advisors in collaboration with visual artist Kas Galos.

The first sculpture is a 200 cm in diameter (nearly 6.5 ft) recycled stainless steel globe with an ocean-green mirror finish. The sculpture is inspired by the Blue Marble, one of the most powerful images of the Earth taken by the Apollo 17 crew showing a borderless world, and the Japanese art of mending broken pottery pieces with gold or silver, known as Kintsugi.

The sculpture made its debut at COP 26, the UN climate change conference that took place in Glasgow in November 2021 and is currently exhibited in London at the Inner Temple Gardens. Additional Impact Art Movement sculptures, which will also feature NFTs (non-fungible tokens), will be added to the collection and exhibited at key venues worldwide. Over time, other artists will be invited to contribute to the Impact Art Movement by using the canvas of the original concept and providing their interpretations.

In addition, the Impact Art Movement supports additional organizations, including Forest One, an impact initiative by Therme One Health, and Sugi, a people-powered organization committed to making the restoration of biodiversity simple, shareable and societally transformative. A QR code on Kintsugi Aurea brings visitors to a website to donate to the Therme One Health GoFundMe campaign for ecosystem restoration through sustainable forestry practices.

Commenting on the launch, Roksana Ciurysek-Gedir, said: “As an artist I believe art is one of the most powerful mediums we have to raise awareness of critical issues and drive change. The first sculpture of the series helps us visualize both the beauty and the fragility of our planet, repaired with gold to create a world that is even more precious and resilient thanks to its scars. Despite the challenges we face today, I strongly believe it is not too late to act, and I call on companies, nonprofit organizations and fellow artists to join me in this effort to drive positive change.”

According to Erik Anderson, a leader in the decarbonization industry and Executive Chairman of Singularity Group, “the Impact Art Movement is an impressive way to shift mindsets and help educate the world on climate change and the immediate need for clean energy. Our mission at Singularity is to engage the global community and use exponential technologies and innovative ideas to tackle the world’s biggest challenges. We are proud to curate Aurea, the first sculpture, and look forward to supporting future innovative pieces of art.”

Kas Galos added: “This installation is so special to me, for so many reasons, but most of all, it shows the power of Kintsugi and the path from being Broken to Beautiful. What a hopeful thought which resonates with so many of us.”

Singularity Group sponsored the first sculpture in the Impact Art Movement series and will continue to champion future pieces as they relate to the company’s focus on SDGs and the convergence of exponential technologies.

Notes to Editors
About Roksana Ciurysek-Gedir
Roksana Ciurysek-Gedir is an artist, entrepreneur, film producer and financier passionate about sustainability and future-led innovations. She is the Chairwoman of the Impact Advisory Board for White Oak Global Advisors, founder of Possible X and global advisor to CEOs. She leverages art, technology and her knowledge of the financial world to shift mindsets and challenge the status quo.

As a financier, Roksana has a 20-year track record in corporate finance, wealth management and investment banking. She was Deputy CEO, Vice President of the Management of Bank Pekao S.A. in Poland, and held managerial positions at Credit Suisse, Edmond de Rothschild, Merrill Lynch, JPMorgan and EBRD.

As an artist, Roksana is fascinated with the relationship between art, design and technology. Since she discovered Kintsugi, a Japanese philosophy and artform, it has been prominently featured in her artwork, from photography on aluminum with diamonds to sculpture. Roksana is also an Artist in Residence for Fabergé, where she explores the complex relationship between luxury, contemporary art and sustainability. She has collaborated with well-known artists such as Terry O’Neill, and her art has been exhibited all over the world, including the International Art Exhibition in Azerbaijan in 2010, Serpentine Pavillion in London in 2019, World Economic Forum 2018-2020 as well as Saudi Cup 2020.

In 2008 she was recognized by the prestigious Newsweek Poland Award for her efforts in deepening British-Polish relations, alongside Polish President in exile Ryszard Kaczorowski and historian Norman Davies. In 2014 she was named Young Global Leader by the World Economic Forum.

She is a CFA® Charterholder, YPO member and holds a Bachelor’s degree in Engineering and Master’s degree in Management and Economics from the Technical University of Gdansk, Poland.

About Kas Galos
Kas is a visual artist whose career path as an art director has presented her with commercial projects around the world. A fascination with all that art is and can be has seen her to evolve into someone who chooses to communicate in artistic language.

Fascinated by the culture, heritage, and philosophy of Japan has left a permanent mark on her design style and attitude towards life. While in Kyoto, she discovered Kintsugi philosophy for the first time, and it continues to inspire her.

About Singularity Group
Singularity Group is a global impact organization that looks into the future to help leaders better understand how exponential technology will shape businesses and societies in the years ahead. Through a deeper understanding of the accelerated pace of change and the role that technology plays in it, these leaders create tremendous positive impact that improves the wellbeing of people and the health of the planet. Over the past decade, Singularity has worked with more than 75,000 leaders drawn from corporations, nonprofits, governments, investors and academia. With 250,000 impact-minded innovators across the Singularity network, 125 chapters and partners across six continents and a strong digital presence, Singularity Group reaches millions of people each month. The organization has launched over 5,000 social impact initiatives, and its alumni have started more than 200 companies. For more information, visit

Further information and images available at: 

SOURCE Singularity Group

For further information: Possible X, [email protected]; Singularity Group, Sonya Hausafus, [email protected]

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Shiny sculpture relocated to shady northeast Calgary streetcorner – CTV News Calgary



A piece of public art that was removed and put into storage after burning a hole through a spectator’s jacket has been reinstalled in a new location.

The Wishing Well made a splashy return Thursday morning in the Bridgeland neighbourhood.

“Great cities have great public art and Calgary is a great city,” said Alex MacWilliam, president of the Bridgeland-Riverside Community Association.

“This is just one more reason for people to be proud that (they) live here and we’re excited for people to come and visit us.”

The piece was initially installed outside the Genesis Centre in the city’s northeast in 2012.

A year later, someone admiring the stainless steel statue complained her coat had been scorched by the refraction of the sun’s rays.

It was removed in 2014 but the City of Calgary has been working with the San Francisco-based artists, Living Lenses, to fix the safety issues, including putting non-reflective coating inside the sculpture and moving it to a 20 degree angle.

“We’ve done a lot of study around this, how the sun moves in this space and the 20 degree angle really mitigates the remaining safety concerns,” said Julie Yepishina-Geller, the public art liaison for the City of Calgary.

Geller said the piece’s new home at the Bridge, a multi-family rental living space and retail plaza by JEMM Properties located in the 900 block of McPherson Square N.E., will also help as it provides more shade.

Geller said the piece’s new home at the Bridge, a multi-family rental living space and retail plaza by JEMM Properties located in the 900 block of McPherson Square N.E., will also help as it provides more shade.

“It’s really a combination of factors that we had to consider so we started the process three years ago and have been sort of chipping away at it ever since,” she said.

Edan Lindenbach, principal of land planning and development with JEMM Properties, said it’s been a dream of the company’s to “activate” Bridgeland.

“We really wanted to give back more than just by providing more density and creating more residences for Bridgeland,” he said.

“We’re just so excited to have achieved that. I think this sculpture is going to be enjoyed by so many people. I think it’s going to be great for kids. It’s going to be an awesome corner for Bridgeland now.”


The art piece isn’t just a visual experience. People can also send a text with a message or greeting that will be played inside through light and sound.

“The sounds are made from voice recordings of people across Calgary, so essentially the melodies created are your fellow Calgarians singing messages back to you,” Geller said.

Ward 9 Coun. Gian-Carlo Carra said as more people in Calgary choose to live in higher density areas, there needs to be access to all types of amenities.

“Amenity is access to beautiful parks, it’s access to amazing shops and services, and then it’s also access to amazing culture and having a stunning piece of public art on this corner really plants that flag,” he said.

Committee chair Gian-Carlo Carra, a long time advocate for increased housing density, says there are no easy decisions to accommodate the sudden burst of growth.

Many people in the area also agree that having more public art around the city adds value.

“I think it’s nice to have something here instead of just having nothing there around this community, it’s growing,” Ethan Do said.

Willow Walker, another resident, took a break from her bike ride to admire The Wishing Well.

She said she appreciates works of art like it and would like to see more.

“It makes people pause and talk and share their ideas and it’s a happy thing,” Walker said.

Carlos Valdez agreed, and said, “It’s pretty nice just to walk around downtown and see art the people have made and it makes the city come more alive.”


The city’s public art liaison said there are going to be several small scale projects in the northeast, including at the Genesis Centre, that will be installed over the next two years.

“This is going to enable art by local artists to be enjoyed throughout the quadrant, including a new future sculpture at the Genesis site,” Geller said.

She said the city has learned lessons from this experience but said each piece of public art is different and there isn’t a “cookie cutter approach.”

“Now we are really focused on looking at all aspects of a piece, looking at the site in combination with the material that’s used and that certainly always has been and will continue to be a focus of the program,” Geller said.

The relocation of The Wishing Well comes at no additional cost to Calgary taxpayers, according to Geller.

The sculpture is 3.88 metres tall, 5.36 metres wide and four metres deep. It weighs 2,200 kilograms.

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Kent Monkman's subversive art creates a counter-narrative of Indigenous experience –



This episode originally aired on April 19, 2016.

The work of Kent Monkman is always arresting — whether it’s a lush landscape, an immersive mixed-media installation, or a vivid performance. At centre stage is his flamboyant, two-spirit artistic persona, Miss Chief, or “mischief” — a kind of trickster figure in drag, through which Monkman challenges the representation of Indigenous people in Western art. 

Monkman was born in 1965 to a mother of English and Irish descent and a Cree father. He grew up in Winnipeg, where he strongly identified with his Indigenous roots. His work is exhibited in New York’s Metropolitan Museum of Art, the Montreal Museum of Fine Arts, the Art Gallery of Ontario, the Smithsonian’s National Museum of the American Indian and the Vancouver Art Gallery. Through the summer of 2022, he has exhibitions at the National Gallery of Canada and at the Royal Ontario Museum in the fall.

Monkman spoke to Eleanor Wachtel in Toronto in 2016.

Detail of a painting by Kent Monkman. Painted in a realistic style, two figures appear at centre, floating in the heavens. The figure at left is a male figure with long black flowing hair wearing flowing pink and white fabric and black pumps. They appear to float on a cloud. At right, another humanoid figure clothed in draped fabric, but with the head and tail of a snarling coyote.
Detail of a painting by Kent Monkman. (Kent Monkman)

Inspiring and troubling

“I grew up in River Heights in Winnipeg in the 1970s, which was predominantly non-Native. So all of my classmates were Anglo-Saxon kids. I’d go to the Manitoba Museum, which had a display of life-size dioramas. They still have them. They’re fascinating to look at because they are representative of Indigenous cultures in this sort of pre-contact time capsule.

It was inspiring to see this idyllic representation of First Nations cultures. But you would step outside the museum and there on Main Street was Skid Row.

“There’s a bison hunt that’s as realistic as you can get in terms of a museum diorama. It was inspiring to see this idyllic representation of First Nations cultures. But you would step outside the museum and there on Main Street was Skid Row. You have the fallout of colonization and people that have been damaged through colonization.

“I remember my classmates would ask me, ‘What happened to your people?’ Because I was First Nations and I just could not answer that question. I didn’t have the language.

“I didn’t know how to reconcile what was in the museum and what had happened and what was on the streets of Winnipeg at that time.” 

The Rise and Fall of Civilization | Mixed Media Installation – 2015 | Gardiner Museum (Jimmy Limit)

Mixed mediums

“I’m not a trained sculptor, so I basically work with the figure sculpture or the figure mannequin. I’m not trying to make classical or beautiful figure sculptures. I’m using those cheesy, tacky, human mannequins that are used to represent people in dioramas and then trying to create an environment that simulates a natural environment.

I’m using the components that are present in dioramas to make an art piece that feels like a diorama — a life-sized figure’s furniture or animals — and using those to challenge some of the representations of First Nations people.

“Or it could also actually be an interior setting, but the idea is that I’m using the components that are present in dioramas to make an art piece that feels like a diorama — a life-sized figure’s furniture or animals — and using those to challenge some of the representations of First Nations people.”

Triumph of Miss Chief | 84″ x 132″ — 2007 | Acrylic on canvas | Collection of the National Gallery of Canada

An empowered alter ego

“Creating Miss Chief was a strategy to, again, challenge the subjectivity of the artists in the 19th century, like George Catlin, John Mix Stanley, various others who were painting themselves in their own work. And it was a way of challenging the subjectivity of the work by saying, okay, ‘This is an artist with his own creative license who’s painting himself in his work.’

“It was also about the ego of the artist, to promote themselves, to have such a strong position.

I wanted my alter ego to be front-and-centre in a very aggressive way to reverse the gaze as a First Nations artist that could appear to live in that time period and be the observer of European settler cultures.

“I wanted my alter ego to be front-and-centre in a very aggressive way to reverse the gaze as a First Nations artist that could appear to live in that time period and be the observer of European settler cultures. So she has proven to be an effective way of disrupting this historical narrative — the dominant narrative that we’ve received through art history and through the telling of history.

“And because she’s a diva alter ego, she kind of demands to be at centre stage.” 

Sunday in the Park | 72″ x 96″ — 2010 | Acrylic on canvas

Disrupting perception

“I wanted to disrupt people’s perception about this received history. We go to museums, we see these paintings. We accept that this is the authoritative version of how North America was settled — made by European settler artists. So my intent was to get people to ask questions that may be uneasy questions about what was actually happening when those paintings were being made.

“People were being forcibly removed from the land. Those landscapes were all empty — most of them were empty. But there were many, many nations of people that lived in North America that were being removed.

I wanted to think about the Indigenous people and their relationship to the land.

“So the paintings for me were lies, and at least they were subjective. It was a story of North America that was told from one side. I wanted to think about the Indigenous people and their relationship to the land. It is a fact that they were living in these landscapes but were never visible — or very rarely were they ever painted in these landscapes.” 

Focusing on resilience

“In a lot of my work, I really prefer to focus on the resilience of Indigenous people, the resilience of our cultures. We’re still here — despite all of these theories of the ‘vanishing Indian,’ the end of the trail; we are still present.

“We are still innovative cultures. We are still moving forward.”

In a lot of my work, I really prefer to focus on the resilience of Indigenous people, the resilience of our cultures.

Kent Monkman ‘reverses the colonial gaze’ with new paintings at the Met

3 years ago

Duration 3:30

Visitors to New York’s Metropolitan Museum of Art will be greeted by two ‘bold’ new paintings from Cree artist Kent Monkman for the next few months.

Kent Monkman’s comments have been edited for length and clarity.

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Calgary's Peace Bridge is a 'work of art', city officials say | CTV News – CTV News Calgary



City officials are hoping a new display at an iconic Calgary landmark will help prevent a costly issue.

The campaign, called the Vandalism Gallery, aims to reduce the amount of damage that’s being done to the Peace Bridge each year.

Since the bridge opened in 2012, city crews have been forced to replace a number of the glass panels because of vandalism.

City officials says the incidents have gotten worse in recent years.

“We have seen an increase in vandalism to the Peace Bridge’s glass panels, mainly from people throwing rocks at the bridge from the east riverbed,” said Charmaine Buhler, bridge maintenance manager, in a release.

According to city data, it costs approximately $80,000 per year to remove and replace broken panels on the bridge. So far, they haven’t needed to order new panels because they are still working through a supply of replacements that were supplied when the structure was installed.

With the change of season, city officials says vandalism to the bridge does increase, so they wanted to do something to encourage residents to look after it.

The display includes a number of “works of art” that have been damaged, along with the message, “You’re standing in a work of art.”

The city is increasing security measures on the Peace Bridge to reduce vandalism.

Buhler says she hopes it will help residents understand they should enjoy the bridge, not break it.

“We’ll remind the people who use it, and live in the neighbourhood, that artwork is something to be admired, not vandalized,” Buhler said. “We are also hoping it will encourage people to report suspicious behaviour and vandalism-in-progress to police.”

The city says this awareness effort is part of a larger campaign to reduce vandalism at the site. Some of the other methods are improving security patrols, installing security cameras and pursuing stiffer penalties for offenders.

An average of six panels are broken per year, the city says.

Crews are also looking into the possibility of using a different material that can’t be broken so easily.

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