This summer, the AGO will unveil a newly acquired work by acclaimed artist Thomas J Price. Titled Moments Contained (2022), the 2.7-meter-tall bronze sculpture depicts a contemplative young Black woman dressed casually, with visibly clenched hands in her pockets, projecting a serene and confident demeanour. The sculpture will stand in front of the main entrance of the AGO, facing north and overlooking the intersection of Dundas Street West and McCaul Street. 

This is not the first time a sculpture by Price has been installed outside the AGO. In 2021, as part of ArtworxTO: Toronto’s Year of Public Art, the AGO exhibited Price’s sculpture Within the Folds (Dialogue 1) (2020)(image below). Also over two meters tall, this bronze sculpture depicted a young Black man standing upright in a relaxed position, gazing forward, wearing a hooded sweatshirt and pants. It stood on the site currently held by Brian Jungen’s Couch Monster: Sadzěʔ yaaghęhch’ill (2022).   

To celebrate the official unveiling of Moments Contained, the public is invited to attend two events on Wednesday, July 30. The first is a free event featuring remarks by the artist, a special performance by Toronto musician Shakura S’Aida, and A Gospel Chorale led by Kiara Picart. The second is a ticketed talk where Price will join Julie Crooks, Curator, Arts of Global Africa and the Diaspora at the AGO in conversation in Baillie Court. Tickets for the talk are on sale now.  

As an artist, Price is internationally recognized for his large-scale sculptural works situated in public spaces. These larger-than-life bronze figures depict fictional Black subjects, described by Price as “psychological portraits.” Their identities are derived from several sources, including real-life individuals observed and sketched by the artist and the use of 3-D scanning technology for body and clothing detail. Confronted with the towering presence of each figure, viewers are prompted to critically reflect on how they socially interact with Black bodies. 

In March 2022, we spoke to Price to find out more about the creation of Within the Folds (Dialogue 1), and his philosophy on monuments. 

Thomas J Price. Within the Folds (Dialogue I), 2020. Cast silicon bronze, Overall: 274.3 × 68.6 × 68.6 cm. Private Collection. © Thomas J. Price. Installation view, Dundas and McCaul. Photo © AGO

Foyer: You’ve mentioned before that using multiple sources of reference when constructing your large-scale characters “places the focus on their psychological embodiment and underlying humanistic qualities.” Can you elaborate on that statement and share why this type of focus is important for those viewing the work?  

Price: I wanted my figurative sculptures to counter the established value system that places individuals, and their constructed narratives, on plinths as markers of who is valuable in society. The use of multiple references was to draw our attention to emotional truths, which we share, instead of reinforcing notions of individual excellence and superiority – the idea that you too can receive acceptance and praise as long as you conform to the existing power structure. I believe that way of thinking only amplifies the power and privilege of those who are in positions of authority. 

What can you share with us about the creation process of Within the Folds (Dialogue 1)? Are there any specific references or moments of inspiration that helped you build the character? 

The title references the folds of clothing depicted in classical sculpture as well as the idea of being accepted socially, whilst alluding to the counter-position of being “othered”, which can be a reality depending on what you look like and how you dress. Beyond my low-level personal experiences there have been some very public moments where the clothing being worn, like a hooded jumper, has been used by authorities and individuals as justification for extreme violence against, and murder of, Black men in public spaces. I wanted to render the figure almost like a religious figure in terms of his flowing clothing and have that interplay with the often-negative narratives that are all too frequently propagated in society. 

Many have considered your large-scale public works to be perfect replacements for some of the recently toppled colonial statues across the globe. How do you feel about this assertion? Have you ever thought of these works as monuments? 

I think of my figurative works as “sculptures about statues”. I wanted the work to make people aware of why monuments are built, and what narratives are they trying to maintain? Who does that serve? Whilst it’s true that since 2020 the public has become far more conscious of the monuments that stand above them, it’s often been followed by a desire to simply replace individuals from history with different individuals from history. Whilst I do think that awareness of the full spectrum of contributions from within society is a very good thing, I don’t want to end up reinforcing a hierarchical system that is designed from the ground up to maintain the status quo in terms of power and privilege. 

Thomas J Price’s Moments Contained (2022) goes on view Wednesday, July 30 outside of the AGO on the corner of Dundas Street West and McCaul Street. The unveiling event and subsequent ticketed talk are happening that evening at 6:30pm and 7:30pm. Purchase your tickets to the talk here.