J.J. Bardoel
Silhouette Intern
When rushing to their next class, students may tend to look past all of the history on campus. However, for those who walk through Hamilton Hall may find it almost impossible to ignore the large statue. The statue of Greek mathematician Anatolius is still a relatively new addition to the vast collection of sculptures and statues scattered throughout McMaster.
Created over a span of two years, numerous faculty members and Hamilton artists Bryan Kanbara and Brian Kelly collaborated on the sculpture to create a piece which appealed to other members of the McMaster community, not just those who thrive in mathematics.
“The sculpture represents Anatolius of Alexandria, a 2 A.D. mathematician who was [canonized] for his peace-making activity,” said Kanbara. “This adds a human-ness to the theme of mathematics and gives it a poetic glow.”
The artists wanted the sculpture to represent the fact that mathematics was predominantly experienced in class. The three-piece sculpture has mathematical equations covering the majority of its body.
Months prior to the unveiling in January 2008, faculty began visiting the studio where the sculpture was held, writing their own equations on the robes, and primary school students’ schoolwork was projected onto the sculpture and drawn on. These equations vary in difficulty, representing how all different people have partaken in mathematics.
Comprised using old-fashion methods at the two artists James Street North studio, the sculpture was pieced together, with wood, Styrofoam, epoxy resin, fiberglass, latex and spray enamel paint making up the body.
Artistically, the sculpture is a unique combination of different styles. Some areas are statuesque, while others are more abstract. The elements of the stature were meant to contrast the modern architecture of the interior of Hamilton Hall, officially known as the James Stewart Center.
The globe which hovers over the sculpture is a common symbol associated with Anatolius and the book the sculpture is holding is a James Stewart textbook, the sponsor of the creation. The cherub, found a level above the main portion of the statue, acts as another reflection of the mathematician’s sainthood, extending a halo down upon the figure.
The sculpture currently rests in a light well within Hamilton Hall, making it a very distinct sight for visitors of the building.
“We wanted Anatolius to be a surprising encounter for first time viewers,” said Kanbara. “And a comforting, large presence for frequenters of the building.”
Aurora Coltman
Silhouette Intern
Spending time on campus means that you may not notice things around you. One such overlooked feature of campus is the White Lady, the marble statue with the Gene Simmons-like mask that existed in the shadows near the daycare at the former Wentworth House. Now, in the midst of the construction, she sits behind the Michael DeGroote Centre for Learning and Discovery, her history slowly being forgotten by those who pass by.
Despite our curiosity, few people know the whole story behind the White Lady. The statue, built between 1959 and 1962, was designed and created by the artist Elford Bradley Cox (1914-2003), a Canadian sculptor born in Botha, Alta. His primary mediums included limestone, marble, alabaster, wood, precious and semi-precious stones, porcelains, and various metals. Cox sculpted everything from animals seen in Canada – bears, lynxes, owls – to the human figure – several torsos, stylistic faces.
Cox started the statue in 1959 when a Canada-wide art competition was begun for a “sculpture of a family group” that was to be placed outside the City Hall in Hamilton, Ont. Six sculptors, Cox's among them, were promised $250 each, and submitted models for consideration to the jury. It was decided on Jan. 19, 1959 that Cox would receive the award, and create a sculpture to adorn City Hall.
Only members of the jury had ever seen the draft for the statue, meaning it was to be a surprise at the unveiling. However, the statue was never placed in front of City Hall due to controversy between city officials.
Despite research by the McMaster Museum of Art and other interested parties, what happened to the statue afterwards was never fully discovered.
It did end up at McMaster, and there are two theories as to how. The first theory, the only proof being written in a letter by Dr. George Wallace, a McMaster professor from 1960-1985, wrote that William Kilbourn, another professor, and one of the members of the jury for the competition, suggested that McMaster University, “recompense [to Cox] and [place] it in front of Wentworth House.”
An alternate theory suggests that Lloyd Kyles, architect of Wentworth House, was the donor of the Cox sculpture.
Whatever the case, it is clear that Kyles was involved in bringing the statue to McMaster in 1962.
Plans to place her on the circular patio outside former Wentworth House failed, as she was not ‘appropriate’ for the setting, looking apparently unappealing against the brown brick, and being considered scandalous for the figure’s lack of clothing. The statue wound up next to its final resting spot next to the nursery.
The White Lady was moved slightly in 2001 when art conservator Sandra Lougheed was invited to repair the statue by the McMaster University Future Funds project. As the statue had been secluded, taggers had taken the opportunity to cover its torso and face in black acrylic paint. Lougheed took it upon herself to restore the statue to its former glory, fixing cracks, cleaning dirt and mould from the surface, and peeling away the acrylic paint.
Naturally, vandals reclaimed it mere weeks later, replacing the Gene Simmons mask with almost an exact copy. There has been no discussion since of restoring the White Lady.
Photo credit: Aurora Coltman / Silhouette Intern
