Profile: Canadian Art's Melony Ward

One sunny afternoon long ago my grade six class ventured to the McMichael Canadian Art Collection. We were learning about “La Groupe des Sept” in French class that year. I was reluctant to go, but I boarded the shiny, yellow school bus anyways and sat in utter obedience as I was ushered along to the McMichael.

The entire way there I thought to myself, “why can’t I just go home from school early?” The ten year old me wanted no part in this excursion. Upon our arrival I reluctantly shuffled into the lobby and followed the guide to what I remember as the first painting he pointed out: “Mount Lefroy” by Lawren Harris. We paused in front of it. The guide mumbled something about Harris’ career and my class moved on. I did not.

As a ten year old I had no idea what I was looking at. To me, the painting looked like strips of Dairy Queen ice cream dispensed atop a mountain’s peak. Nevertheless, I felt a spark, a certain magnetism that drew me in: I was dwarfed by the sublime subject matter, yet I felt completely included in this frosty, jagged universe. I cannot tell you why I was drawn to that particular work, but I will never forget what I felt at that moment—a combination of inner tension, excitement and pure reverence. My newfound love for art was brewing from within.

Upon sitting down with Melony Ward, publisher of Canadian Art magazine, she unknowingly summed up my personal experience with that painting. “When you look at a piece of art it often gets into your bones,” she explains. It is as if you are instantly transported into an alternative world and, as Ward expresses, “it just makes intuitive sense for you to be there.”

After analyzing my first encounter with Canadian artwork on a school trip, I could not help but consider the importance of the arts in Canadian school systems, higher-education institutions and in society as a whole. In asking about some of Ward’s initial experiences with visual art, she fondly recounts her first class at the University of Toronto. Ward remembers walking into the lecture hall and taking in the first slide projected on the screen—Donatello’s “David.” As the professor revealed the image to the class Ward thought, “wow, I am in the right place!”

From then on Ward dedicated her academic career to the philosophy of art and language. She went on to complete her master’s degree in philosophy at U of T and post-graduate work in art history. After graduating, Ward dabbled in a variety of arts-related fields, from advertising to book publishing. Eleven years ago, Ward became publisher of Canadian Art magazine, which is affiliated with the Canadian Art Foundation.      

As a major player in the art world, Ward is an advocate for spreading artistic awareness throughout Canada. One way in which the Canadian Art Foundation has accomplished this is through their new website www.canadianartschool.ca . This site shares information on working in art and design as well as school and career advice for those considering going into the artistic field.

In addition, amongst the Canadian Art Foundation’s many programs, is the Canadian Art Foundation School Hop, which comprises of artist-led tours for secondary school students. Highschoolers are encouraged to engage with contemporary art and participate in thought-provoking discussions. As Ward stresses, “you can explore any topic through art.” Tours such as these are of the utmost significance, for stimulating a student’s creative side leads to thorough self-expression and an ability to embark on any avenue through creative means. 

After pursuing a career in the arts, Ward is both pleased with and passionate about her career choice. Moreover, in working for a magazine, which disseminates essential information about the visual arts world, Ward plays a crucial role in inspiring readers to continue supporting artists and their creative endeavors.

Leaving the café after my interview with Ward I was struck by a very familiar emotion. I was immediately catapulted back to that afternoon at the McMichael, but this time “Mount Lefroy” was nowhere in sight. In its place stood an inspiring woman dedicated to the arts in real, radiant color—far less frosty than Harris’ famous piece, but just as sublime.