Toronto recently hosted an inspiring exhibition by Trinidadian kinetic artist Guy Beckles, whose work has left a lasting impact across the Caribbean and beyond. The exhibition, titled “Art in Motion,” was held at Withrow Common in the CNE grounds and ran through the first week of November, drawing audiences to witness Beckles’ unique style—one he calls “Guynetics.” This term, coined by Beckles, embodies his lifetime dedication to kinetic art, a genre characterized by sculptures that move or include moving parts, presenting an intersection of engineering and artistry.

Organized by the non-profit Ancestry Footsteps, “Art in Motion” aimed to spotlight diverse voices in the Canadian arts scene, highlighting multicultural and Indigenous representation. The showcase featured work from eleven other artists, including Bploebi Charles Okah, Mike Kasongo, and Helena Stopyra, alongside Beckles, underscoring the event’s theme of cultural celebration.

Reflecting on his artistic journey of nearly five decades, Beckles shared his commitment to creating pieces that resonate across age groups and backgrounds.

“I’ve had exhibitions 25 years ago, and I meet people today who tell me they still remember the experience from when they were children,” he said. Beckles believes his art’s emotional and sensory appeal has the power to leave an impression not only on adults but on children and even animals. Recalling a memorable show in Harlem, he described how one piece simultaneously captivated a mother, her child, and their dog—a testament, he feels, to the universal appeal of kinetic art.

This was Beckles’ first major showcase in Toronto, though he previously exhibited a smaller collection at the Eaton Centre during Caribana years ago.

Beyond aesthetic beauty, Beckles’ work often carries profound social and philosophical themes. A particularly beloved piece, Twice a Child, reflects his philosophy of life’s cyclical nature. He describes how the inspiration came from a personal experience when his twin sons were hospitalized as toddlers in Trinidad.

“The ward had nothing to distract the children from their pain,” he shared, explaining how this experience led him to create a playful, moving installation that could bring joy to young patients. The result was a motorized tableau of moving toys designed to bring comfort and relief, which later found a temporary home in pediatric wards across Trinidad.

Influence from his days at Dartmouth College, where he assisted renowned masquerade artist Peter Minshall, also shapes Beckles’ work. Their collaboration in the 1960s left an indelible mark on his art, subtly reflected in the stylized, symbolic figures that characterize many of his pieces.

Beckles expressed his dream of establishing a permanent gallery for his kinetic sculptures, a “kinetic house” that would allow him to showcase his work continuously. “I’m tired of putting on a show for two weeks and then moving on,” he said. His vision for a gallery would provide a space where visitors could fully immerse themselves in the sensory, therapeutic experience of his art.

As Beckles’ work continues to gain recognition, his “Art in Motion” exhibition in Toronto has set a powerful precedent. The show’s success not only underscores the importance of kinetic art but also the role of diverse cultural expressions in Canada’s art scene. Ancestry Footsteps and Beckles hope this exhibition marks the beginning of many more, inviting audiences across Canada and the world to witness the transformative power of “Guynetics.”

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