The Living Lane and Economic Justice in Regent Park

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A Cold Winter’s Day

On a cold winter’s day, wind whips through the avenues of Toronto’s Regent Park. The neighbourhood’s newly built towers tunnel frigid wind at highway speeds, and like the rest of downtown Toronto, there is little incentive for a wanderer to leave their house at this time of year.

However, the frigid conditions slow upon entering one of the small laneways that branch off the neighbourhood’s arteries. For our wanderer, these paths are a safe place of refuge.

Specifically, Ratna Lane feels the safest of them all.

In this passage, quick winds and quicker vehicles are stalled at the entrance, where the built form denies their access. On Ratna Lane, this wanderer will find a collection of placemaking artwork, including benches, tables, and shelters, which have been designed to emulate significant structures of Regent Park’s past. However, due to the pedestrian-only nature of this lane, they will not find vehicles.

Despite its short length, Ratna Lane is significant to the Regent Park community. It was named in honour of Ismathara Ratna, who was a mother, aunt, and a dedicated community member that was tragically killed by a vehicle, and her laneway is designed to welcome community members and visitors. The space is highlighted by its artistic features, which foster connections and creativity.

Alongside public art, the creativity continues within the storefronts that line Ratna Lane’s south side. Two art studios stake claim to its at-grade level, housing the studios of Benny Bing and Komi Olafimihan. Alongside them are Melissa Falconer and Morgan-Paige Melbourne, who work and live on neighbouring Tubman Avenue. These studios make up the Living Lane, which seeks to formally establish Regent Park as Toronto’s creative centre.

Despite the significance of art and culture in Regent, creativity hasn’t historically been a defining feature of the neighbourhood. The wanderer is more likely to remember pre-revitalization media coverage, which painted the community as a cold and isolated place, riddled with gun violence and drug trade.

Articles about Regent Park are more likely to begin with “a spray of bullets fired” than a spray of colour on a canvas.

A Cold and Isolated Place?

Situated east of Downtown Toronto, bordered on the west by Parliament Street to the Don River, Regent Park holds a unique piece of Canada’s history as its first public housing project. Once heralded as a community for morally upright families, the neighbourhood transformed throughout the latter half of the 20th century. Within 15 years of the project’s completion in 1957, opinions changed on its built form, from promoting safety and community to fostering isolation, fragmentation, and criminal activity (1).

By 1968, Regent’s developers claimed that the neighbourhood was a failure. Interviews from this time described Regent Park as “an oversized, poorly planned, criminogenic haven of single mothers, welfare families, and deviants” (2). Over the next four decades, responsibility for this failure was never taken and the problems caused by continued neglect and marginalization snowballed.

As the 20th century came to a close, the perception of Regent Park couldn’t have been different to its initial expectations. Buildings sat aging and grass grew long, both of which were unkempt by Toronto Community Housing, who themselves were severely underfunded. The local and national media told stories of drugs and murder, describing Regent Park as one of, if not the most, dangerous neighbourhoods in the city (2).

The New Regent Park (Photo Credits: Connor Broughton)

In 2002, change was finally slated for Regent Park. The neighbourhood was set to be completely razed and rebuilt by Daniels Corporation alongside the City of Toronto who sought to address the issues that plagued the neighbourhood. Over the next couple of decades, community members would have to say farewell to Oak Street and River Street, set to be replaced by something completely new.

Through the revitalization, Daniels Co. have prioritized community building by investing in the development of amenities that commit to the safety of the neighbourhood. This is highlighted in the president of Daniels, Mitchell Cohen’s, book that accompanies the Regent Park revitalization: Rhythms of Change, where he describes community building as the most important aspect of the project (3). Continuing this point, Fatima Saya, who leads the Social Impact team at Daniels, describes how much detail was put into guaranteeing neighbourhood safety by highlighting the specific challenge that service lanes presented to developers.

“Service corridors are crucial to [condo building operations] ...but when they’re not being used, they’re potentially dark and dingy,” Saya says. She emphasizes that this darkness fosters crime, meaning that service lanes became one of the most crucial safety-related issues the Regent Park revitalization faced.

To solve this problem, Saya’s team brainstormed alternative methods to “facilitate safety…and social cohesion through the design of [the service laneway].” She describes the eventual decision on the use of the space as a reflection on creative exercises and community engagement.

“We really wanted to try some new things,” claims Saya.

One of these new ideas became the Living Lane, which encompasses Ratna Lane and Tubman Avenue, and has become a monumental component of the new Regent Park. It was envisioned as a community gathering space that seeks to bring attention to the value of arts and culture in the neighbourhood. Practical art and sculptures, including benches, tables, and canopies, line the way – inviting the wanderer to sit and take a moment

During that moment, they might be confused to find the storefronts on this lane look…different. No clear advertisement of what’s on sale or what goes on in these spaces, just the 10 feet tall windows and subtle branding.

Four art studios fill the storefronts of Ratna Lane and Tubman Avenue, housing exceptional black artists of diverse backgrounds and art styles. They were strategically chosen to occupy these spaces by the Black North Initiative, who collaborated with Daniels Co. on the Living Lane Project. The goal of which is to “celebrate the existing arts community in Toronto and provide a unique opportunity [to] support Black artists and creatives in developing their practice, showcasing their work, and building relationships in the community” (4). From east to west there are Benny Bing Studio, Studio-Olaf, Studio Melissa Falconer, and Studio Morgan-Paige. The artists work in these studios during the day and live upstairs in the attached condos during the night.

Beyond being a space for community gathering, the Living Lane provides economic justice for the artists who call it home. Springboard For The Arts (an independent non-profit who supports artist-led community development work) states there is little to no safety net for most individual artists, especially for black and marginalized artists (5). The four artists back this by describing how institutional pressures and pressures from family prevent the exploration of a career in the arts. With the opportunity for them to work out of a subsidized-rate studio, they are assured equity in economic opportunity – which allows them to pursue their creative careers (6).

Living and Working in Regent Park’s Living Lane

Benny Bing was the first to move into his studio over two years ago. As an artist from Regent Park and being on the board of Artscape, Benny believed the Living Lane opportunity was a perfect fit for him. He saw the opportunity to work out of his own dedicated studio as the next step in his art career.

“Two of the major concurrent [challenges that artists were facing] were funding and space,” Benny says. He believes that by developing dedicated studios for emerging artists, the Regent Park neighbourhood can strive toward economic justice. “Environment is key in changing the way one feels in how they look toward the future,” Benny says.

He exclaims that this environmental alteration has changed the way he creates, giving him the opportunity to feel like a business owner and an artist. By operating out of the Benny Bing Studio space rather than his home, he feels like clients are more inclined to come to his space and buy his work.

Komi Olafimihan, the second artist to move into the Living Lane, echoes some of the same experiences as Benny when reflecting on this new space. His journey as an artist began later than most, where he only began to create art in his mid-twenties. Originally an architect, Komi was never satisfied with the corporate world – his true passion involved working on his art at home deep into the night. Now a career artist, he says the Living Lane studio space gives him the drive to create bigger and better pieces. Since moving in, he has explored his art using scales that wouldn’t have been possible without his dedicated studio space.

Despite being a creative kid, Melissa Falconer didn’t have a traditional upbringing in the art world either. She was encouraged to get a “normal job”, and her good grades made her feel like a career in accounting or finance would provide her with a stable future.

“In the traditional art world…you have to go through these institutions and systems in order to be successful…and the percentage of artists who actually make it through that system is so small,” she claims.

Without the belief that she could pursue art as a career, Melissa went to Laurier University and began making portraits as a passion project and side hustle in her dorm room. She says that it took her reaching her mental rock bottom as a student to truly understand that her future lay as an artist. Now, with a university-level background in economics and finance, she sees art as a business.

Since moving into the Living Lane, Melissa has been commissioned to make portraits of black Canadian heroes, including Fergie Jenkins.

Finally, the nonbinary artist, Morgan-Paige Melbourne moved into the Living Lane to pursue their music career. Their use of the space as a recording studio has allowed them to fit three pianos, including a grand piano – giving them the ability to compose, record, and master their work in one space.

Even though they were consistently one of the most talented classical pianists in Ontario through their childhood and adolescence, Morgan-Paige never felt like the classical music system encouraged them to pursue their passion as a career. Morgan-Paige recalls working out of their family home – having to be mindful of the noise they were creating. Throughout the early part of their journey into a career in music, the space they had to work in was a massive detriment to the quality of music they produced. Like many other emerging artists without proper studio spaces, their ability to practice and record on their own terms was limited. They felt that their ability to pursue a career in music was abruptly halted by a glass ceiling represented by access to a studio space.

Now, with reliable access to instruments, recording tools, and noise-cancellation so good that their neighbours can’t hear a peep, Morgan-Paige can work any time they please.

Experiencing Economic (In)justice as a Marginalized Artist

For the Living Lane artists, navigating through an art career was close to impossible before earning the opportunity to work out of their own studio. Despite coming from different backgrounds and creating different styles of art, the four artists echo each other’s explanation of how they were held back as emerging artists.

First, the two non-male artists highlight how there is no representation of female and non-binary black artists in traditional art spaces. Growing up, Morgan-Paige was told by other pianists and adjudicators that they shouldn’t pursue the classical field. Throughout their adolescence, they were told that they should get into jazz rather than classical piano because of its historical role as a black space.

As another talented artist in her youth, Melissa feels she faced the same kind of barriers. She believes “[there’s] a lack of representation…and despite how creative I was, it never crossed my mind that I should go be an artist.”

Their stories are true and highlighted by the fact that women artists of colour account for less than 1% of the art held at major US art museums (7).

For Benny, the challenges he described were not directly from a lack of representation, rather the limited opportunities offered for artists as a whole.

“There is a lack of funds in the grant and gallery systems,” says Benny. His point is built on by Komi, who says that other artists “can’t believe a space like [the Living Lane] exists.”

Benny advocates for an increase in funding source diversity. Specifically encouraging the government and private sector to find alternative avenues for emerging career artists.

“One way to make sure artists' needs are met is to give them the opportunity to be in boardrooms and connect with [the private sector],” Benny claims.

He believes that the funding provided to emerging artists from traditional art and governmental institutions is limited and brings up how the private sector can introduce programs for emerging artists to fill those gaps. He concludes that, if art institutions, government, and the private sector can develop creative spaces and provide funding, then there is a future in which artists can thrive.

Fatima from Daniels Co. and the artists praise the Living Lane as a trailblazing case of dedicated studio space for emerging creatives. They exclaim how these units have changed the way they create their work and conduct their business.

These stories emphasize the role of the Living Lane in providing economic justice for emerging artists. Notably, the studio spaces have given their tenants the ability to grow themselves, their art, and their careers.

Benny proclaims that, “when you change the way you create, you are able to create better…tell your story better.” And, by telling their stories “better”, the artists have been able to build their personal brands and business endeavours. They describe how bigger pieces of art sell for greater prices and are more likely to be displayed in galleries. The increasing profitability of their new pieces also encourages the artists to take greater risks through the exploration of themselves and their art.

Representing Regent Park

As someone from Regent Park, Benny describes how important this opportunity has been for the entire community. He believes the development of the Living Lane studio spaces reflects the positive steps Regent Park is making to foster an economically just neighbourhood revitalization.

“When you bring like-minded people together and think about how to grow a community…magic happens,” Benny says. To him, the group are “not only artists, but change-makers.”

This is reflected by the efforts the artists are taking to give the program exposure to Regent Park. Specifically, each artist either is currently or planning to use their studio space as a platform for other aspiring artists. Benny and Melissa host art classes for the public that reserve seats for Regent Park residents, giving them an opportunity to pick up a paint brush for the first time. Meanwhile, Komi has been hosting a mix of interdisciplinary artists in his space, including podcasters, writers, and other artists. Finally, Morgan-Paige plans to share their studio with other emerging artists on the margins. As someone who has been through the experience themselves, they can relate to how difficult it can be to feel welcomed in creative spaces and recording studios.

Now, as change-makers, the artists understand that role within this community. In which, their platform provides aspiring Regent Park artists with the belief that it is possible to pursue their passion full time. Thus, fostering change in Regent Park becomes a challenge the artists are willing to take head on as they have become the representation they needed growing up.

“Now I can be the representation that [aspiring Regent Park artists] need,” states Melissa. She is excited about her future in the community because “for those folks to see successful black artists in their own space, it opens the world of possibility to them.”

This past summer, as she was walking through the neighbourhood, she saw a group of black girls who had set up their own art supplies to create outside together. Recognizing how much inviting them into her studio would mean to their future in the art world, she took them to explore her studio and use the supplies she has. Clearly, “the need [for artistic representation] is here,” she says.

Komi also expresses his excitement for the location of his platform since, “for me now, [Regent Park] is home”.

He relishes in the opportunity to be community leader by describing the Nigerian metaphor, “it’s the person wearing the shoe that will tell you where it’s pinching them.” He explains that as he learns how to find comfort in the shoe that is the professional art world, he can reflect on his experiences and help community members find comfort in their own pair.

**The Living Lane and the future of Regent Park**

Whether it's the placemaking artwork or the absence of cars, the nature of Ratna Lane draws people in – making them feel comfortable. And, as our wanderer meets the Living Lane’s exit, they take a moment to reflect on its presence – the story of Ratna Lane may not be present in media channels or Google maps, but that doesn’t mean it isn’t there.

For Regent Park, the emphasis of art in this space is a clear example of the changing nature of the neighbourhood. Finally, Regent is able to express itself – proven by the people who work in the Living Lane studios.

“I see Regent Park as becoming a hub for the arts…over the years I think it’s going to progress and become world renowned for that. There are a lot of creatives in this area and I feel like it will continue to attract more creatives,” Komi proclaims.

Now, as the first collection of Living Lane artists, this group has the platform to be the representation this community needs. Proving that no matter where you’re from, there is always an avenue in the arts.

References

(1) James, R. K. (2010). From ‘slum clearance’to ‘revitalisation’: planning, expertise and moral regulation in Toronto’s Regent Park: [This is a developed version of the paper that received the IPHS Postgraduate Student Prize for the best postgraduate paper at the 2008 IPHS conference in Chicago - Editor]. Planning Perspectives, 25(1), 69-86.

(2) Purdy, S. (2005). Framing Regent Park: The National Film Board of Canada and the construction of ‘outcast spaces’ in the inner city, 1953 and 1994. Media, Culture & Society, 27(4), 523-549

(3) Cohen, M. (2024). Rhythms of Change: Reflections on the Regent Park Revitilization. Page 2.

(4) BlackNorth Initiative. (2022). Work-Live Opportunity: Empowering Black Artists.

(5) Springboard for the Arts. (2023). The Art of Economic Justice.

(6) Mercer, K. (1990). Black art and the burden of representation. Third Text, 4(10), 61-78.

(7) Greenland, F., & Banks, P. (2021). Race and Sociology of Art, American Sociological Association Culture Section.