WHITE PINE TRAVELS: AT THE BROOM FACTORY

Exhibition: September 4-November 1; free
Opening Events: Saturday, September 6; RSVP here

White Pine Travels: At the Broom Factory is the first instalment of White Pine Travels, a mobile architectural pavilion designed by multidisciplinary artist Noah Scheinman. The structure will eventually travel to Ottawa and through the Ottawa Valley to Algonquin Provincial Park, where the timber used in the artwork’s construction was originally harvested in the late 19th century. In Kingston, the pavilion will sit at the north end of the Broom Factory parking lot, framing views of the urban woods to the north and adjacent to the former railway that once passed through the site.

Equal parts large-scale sculpture, community gathering space, and travelling outdoor cinema, the pavilion reworks vernacular architectures into a platform for collective reflection, forest stewardship, and creative experimentation. Made primarily from old-growth white pine reclaimed from the depths of the Ottawa River, the project engages the rich histories and complex narratives embedded in the material—offering a journey into the past to better understand the future while reflecting on the present.

Always open and free to the public as a space for quiet contemplation, White Pine Travels will also be activated at select times through artist-led forest walks, film screenings, short talks, and workshops. These programs consider the region’s entangled natural and industrial histories while proposing new environmental imaginaries in response to ecological precarity and climate breakdown.

WPT: At the Broom Factory is realized in partnership with the Kingston Canadian Film Festival, Modern Fuel Artist-Run Centre, and RAW Architects Inc. It is generously supported by the City of Kingston Arts Council, the Ontario Arts Council and the Belle Park Project.

ARTIST BIO: NOAH SCHEINMAN

Noah Scheinman is a multidisciplinary artist who makes research-based work at the intersection of cultural history, technology, and the environment. He recently founded S.E.D.I.M.E.N.T.S, a creative studio exploring the interplay between research and practice, art and architecture, laboratory and field. Engaging both conceptual and material-driven approaches, S.E.D.I.M.E.N.T.S realizes artworks, films, and designs that explore questions of landscape through multiple theoretical lenses and methodological approaches. Ongoing projects include Timber Limits, an investigation of forests, the cultural trope of “wilderness,” and the governance of the timber industry, and BAD EARTH, which materializes Canada’s Postnuclear Landscape through a cycle of film-essays and sculptural installations.