Something that I noticed in visits during the latter half of the MosaiCanada exhibition was a hands on explanation of the work that goes into these topiaries, placed near the end of the exhibition. A swan sculpture was half done for demonstrations, with the woman speaking about the techniques of topiary sculpture. The frame is designed and set up first, with soil packed in around the interior irrigation system and framework, and from there, partially grown plants and flowers are inserted, roots and all, into the soil.
On The Trail Of The Algonquin People depicts a First Nations family in the construction of a birchbark canoe.
As I did in my last series, I paused here to look back through the trees to The Voyageur.
Coming out near the end, we have another view of the train.
Odyssey And Hope is the last of the major sculptures, a mother and colt pair of horses by British artist Heather Jansch. She works extensively with driftwood, and combined with the flowers that are in common with the other installations, this made for a fitting finale to the exhibition.
Though there was something else beyond it. This is titled The Station Garden, a tradition first found in Britain, but commonly used by railways across Canada in the latter 19th and early 20th centuries as a way to show incoming settlers of what could be grown in the area. I imagine the notion would have caught on in American stations during that period as well. Flowers were mixed here with vegetables and herbs in a pleasing pattern. I do have some additional shots of the event coming up during more fall colours posts later in the month. I hope you have enjoyed this look at MosaiCanada. I certainly loved my numerous visits to the exhibition.