The Hamilton Arts Council Artist Residency Program is a 3-month rotating artist residency in The Cotton Factory. This valuable opportunity provides artists from a wide range of disciplines and career levels to build their practice. Participating artists are encouraged to use their time to experiment, develop new ideas and learn new skills in addition to forming meaningful ties with their fellow artists in residence and Cotton Factory tenants. The participating artists will be required to deliver an artist talk and open house during the final week of their residency.

The Cotton Factory is a creative community in the heart of lower Hamilton. This former industrial building from 1900 is a prime example of adaptive reuse. It has been transformed from a cotton mill into a creative industries complex, with space for workshops, galleries, office space for creative professionals and studios for artists.

The Cotton Factory continues to demonstrate, ongoing commitment to fostering emerging artist practices as well as their continued contribution to Hamilton’s flourishing contemporary art community.

The studio is located on the second floor of the Storehouse Building at the Cotton Factory (270 Sherman Avenue North, Hamilton)



Hamilton Arts Council: Artist Residency at The Cotton Factory

The Cotton Factory has generously donated a studio space for the Hamilton Arts Council to facilitate an artist-in-residence program. This residency program provides a valuable opportunity for artists from a wide range of disciplines and career levels to build their practice and engage with a flourishing hub of artistic activity. We are seeking applications for this rotating self directed artist-in-residence program. The dates and deadlines are listed below.

The successful applicant will be expected to use the space a minimum of 2-3 days per week and perform an artist talk or workshop in conjunction with a culminating open studio, open to the public.

Two artists will be selected for each term and are expected to share the studio space.

* Please note you must be a member of the Hamilton Arts Council in order to be considered for this opportunity.



Please provide the following information:

  • Letter of intent/ project proposal (500 words max)
  • Short Biography (100 words max)
  • Artist Statement (350 words max)
  • Curriculum Vitae (3 pages max)
  • 10 images (max) in JPEG format or links to youtube or vimeo files

Next Residency:

  • April – June 2018                                       Deadline:  March 2, 2018  (Closed)
  • July – September 2018                              Deadline:  May 1, 2018   [Extended]
  • November – January 2019                         Deadline:  September 7, 2018
  • [October  – Visiting Artist Residency – Estonia]

Results will be communicated shortly after the deadline. Due to the high volume of applications we receive, only the successful applicant will be notified.

Please send applications in a single email to

Please include Cotton Factory Residency Application in the subject line of your email.

The Hamilton Arts Council Residency Program as well as the accompanying speakers series,  is made possible through project from th Ontario Arts Council and The Cotton Factory.

  • Conducting 30 Years of Music in Hamilton: An Interview with Boris Brott

    May 24, 2017 by Boris Brott

    (This is the second in a series of blog posts by the Brott Music Festival in celebration of the Festival’s 30th anniversary this year which kicks off in June.)

    Interview conducted by BMF interns Donna-Marie Ieluzzi & Aaron Hols-Vanhumbeck

    Music has a profound and unparalleled ability to bring people together; the way it makes us feel and the peace it brings within us is something no other force is capable of. This year the Brott Music Festival celebrates its 30th season and we got to sit down and reminisce with the man behind the music, Boris Brott.     

    If you ever get a chance to speak with Boris about the festival, you’ll see his face just light up. 30 years and 30 summers have seemed to flown on by but the passion and joy for sharing the art of performance and musical excellence remains the same. This is more than just a music festival, it’s a musical experience-one we are excited to discuss with you through Boris’ perspective. From 1987 to 2017, here is 30 years of music from the man who started it all.

    Why did you start the Brott Music Festival and what was your inspiration?

    Boris: “My wife and I had been organizing Ontario Place Pops, a series of programs at Ontario Place. Using the Hamilton Philharmonic [Orchestra]. I was asked by then mayor, Robert Morrow, to do something to liven the city during a couple of visits by the Governor General and a member of the Royal Family…We did and it was successful, and we thought, ‘why don’t we augment that and do more in the summer,’ because there was nothing going on.”

    • The first concert series was a small 11-day festival from July 19 to July 30th. It featured a mix of several artists such as Glenn Gould, Karen Kain, William Hutt and several others. The series was held at Hamilton Place, Gage Park, Redeemer College and the Art Gallery of Hamilton. 

    Did you see the Brott Music Festival lasting 30 years when you first started?

    Boris: “I didn’t see myself lasting 30 years here [chuckles]. I had a goal to develop an orchestra using chamber musicians. At that point, we didn’t know what we were doing with any longevity. The catalyst was the idea of the National Academy Orchestra. I put together a conglomeration of experienced and young musicians which worked well. There was nothing available for retraining in the arts in Hamilton, so I called up Barbara McDougall (MP) and got an appointment. I said to look up how much [was spent] on unemployment for musicians. She came back and said ‘you’re right, we want to help you.’ She gave money from a discretionary fund to train professional musicians the practical aspects of the profession. This solidified the festival.”

    • The National Academy Orchestra is Canada’s only professional training orchestra. 

    You talked about your vision when you came up with the Festival. Has it gone the way you had hoped 30 years later?

    Boris: “Inevitably there are moments of concern; it is not one steady process. We do not program for what we don’t have the money for; we must have the resources. The financial burden is on our shoulder, not on a board of directors [and] we like it that way. Our festival this year is 9 weeks. [Ideally,] I want it to be 12 months, all year round. We have to be realistic and do what we can afford.”

    Whenever someone sees an orchestra, they think classical music or opera. How has the Brott Music Festival challenged these preconceptions?

    Boris: “We’ve challenged this by presenting odd combinations of music and composers and given an opportunity for musicians to interact with other art forms, by inventing crazy ideas that force a collaboration of people that don’t normally work together. Whether it be: poets, cartoonists, beatboxers, rock musicians, etc., it opens the door that anything is possible and in that sense, you can create something new.”

    When the Festival started, it was 11 days and this year, it’s lasting 9 weeks. How did that happen?

    Boris: “It happened to some extent because of the National Academy Orchestra. There had to be performances and there had to be so many concerts for these young people to get real experience in the world. That drove the festival into existence; then that was met with a public that was willing to come and listen.”

    What is your favourite part of the Festival and what do you look forward to most?

    Boris: “I look forward to conducting, to making music, to working with young people. It's the act of creating great music that I love. I always said that I was fortunate in my life not to really have to work a day in my life. I’ve enjoyed [and] I’ve played most of my life. My great joy is bringing this group of young people in and welding them together into a performing ensemble, a unit and watching them flourish, develop and love what they do. [...] My favourite part is working with the musicians. Seeing the smiles, the light and the joy they have in their music making and certainly, [another] favourite part is transmitting that joy to an audience, watching the audience respond in a joyous way. The most joy is from the children’s concerts and to watch kids come in where you know that [most] of them ask ‘why are we here?’, then, watching them go out and be really excited.

    What does it mean to you to not only play, but be a mentor?

    Boris: “I got involved as a very young person with many great mentors from Wilfrid Pelletier, who was a great leader in education and was a great mentor to me. [Another was] Igor Markevitch, who brought me to Mexico City to study music while taking a year off from school, and Leonard Bernstein, who was more responsible for the re-encouragement of the mentorship part of my life. It’s part of my DNA to enjoy sharing knowledge and mentoring young musicians. My mentors who took me on would take me all over the world to gain knowledge.” 

    • Boris values being a teacher just as much as he values being a player and that's what makes the festival so special. The idea of mentorship and education has been embedded in his approach to music from a very young age. He grew up around individuals who taught him not only the art of music but more importantly, the art of teaching.

    For the Festival, what would you say is your favourite place to perform?

    Boris: “I would have to say Hamilton Place. It was built as an orchestral concert hall. I think we are so lucky to have Mohawk, how many schools have a concert hall like that? It has an amazing facility. The other facility that has wonderful acoustics and a beautiful setting is St. Thomas Church in Waterdown [which] has a calm feeling about it.”

    Do you get nervous before a performance?

    Boris: “Always. Always. [...] It's more anticipation than nerves. It's not a fear of performing, but it is an anticipation of doing the very best you can; it’s your inner-energy concentrating on what you are about to do. On the odd occasion, I don't feel anything and then I get worried. [...] If you don’t have it, it changes your dynamic of concentration. [...] My parents got me to play for an audience of teddy bears when I was a kid and I had to play concerts from the time I can remember once a week. [...] I don’t fear audiences from that perspective. I’m not afraid of them; it’s more a fear of myself and how I’m going to do, if I’m doing a piece from memory, a lengthy piece [and] assembling all of that in [my] head and saying ‘okay, now’s the moment.”

    Do you have any pre-show rituals?

    Boris: “My mentor Leonard Bernstein had a pair of cufflinks that he wore at every concert and he would always kiss them before he went out on stage. I can't say that I have any ritual like that [and] I sort of wish I did. I don't know why that is. I just go out there and do it. The pre-concert nerves that we talked about is something that I actually like. You have standards for yourself and you have to achieve them. [pause] We should do open rehearsals [so] people can see how the music has changed from the rehearsal to the opening.”

    What do you think is the most important moment in the festival?

    Boris: “There are so many wonderful, amazing and incredible moments, it’s like choosing between your children. There are wonderful moments for every performance. [...] Creating new music is a significant milestone. We did Mahler’s 8th symphony which is a performance of a thousand people on stage. [It] is a highpoint of the festival for me, as well as the children's concerts this year where we showed a combination of rock and heavy metal. The past is gone and I tend to look forward instead of backwards.”

    What impact do you hope the festival makes on attendees and on the City of Hamilton?

    Boris: “Well, first I’d like to talk about these people that are apprentices. We have had over 1800 young people who have gone off into really interesting careers and have done a variety of interesting tasks inspired by what we have helped them with here.  That's the major contribution from my perspective. Not to mention the hundreds of thousands, if not millions of children that have seen the education concerts that I have been able to dream up over 50 years of career. That’s a huge thing. I think from a Hamilton standpoint, our programming is diverse [...]. We continue to open our window into the world of current popular music through orchestrations of rock and pop musicians and folk musicians. We are constantly letting the light shine in musically into this community in original ways and I think the community responds to us.”

    What are your thoughts and impressions on the upcoming thirtieth season?

    Boris: “To me it’s a season like any other season. I think it’s marvelous that Hamilton has sustained us. I’m grateful for the audiences. I’m grateful for the marvelous group of people we have assembled that make this function.”

    Well, there you have it. Boris has an enthusiasm and a determination to make things happen. He wanted to help young musicians gain real world experience so he created an orchestra where they could work and learn from accomplished industry professionals. Then he used that same orchestra to sustain a festival for three decades.

    The goal of the Festival at large is to touch the lives of those who attend as much as those who play. While it is meant to entertain, it is also meant for people to be one with themselves through the music as it accompanies the memories and experiences we hold and go through as human beings. Boris advocates that “music is about connecting with one's inner-self; it connects with people on a personal level and that is the feeling we are trying to achieve here.”

  • 30 years of Brott Music

    April 26, 2017 by Boris Brott

    (This is the first in a series of blog posts by the Brott Music Festival in celebration of the Festival’s 30th anniversary this year which kicks off in June.)

    In 1987, Boris Brott conceived of an idea—a music festival for the City of Hamilton during the summer. The first festival, which lasted 11 days, was featured across Hamilton and was immediately a great success. The Brott Music Festival (BMF) from that day on has grown exponentially, captivating audiences for the last 30 years. In addition to musical performances, it has also become renowned for the numerous educational and professional development programs that have been created under Brott Music since its inception. The Brott Music Festival has become an artistic staple in Hamilton and the surrounding areas.

    Music is a cornerstone of our daily lives. It’s what brings us together and it’s what gives us inspiration. Knowing this, Boris Brott was determined to bring some more musical excitement to the city of Hamilton during the summer months. With support from his wife Ardyth, they founded the Brott Music Festival. Through this Festival, Boris Brott has pioneered a unique performance/mentorship program in which thousands of young professional Canadian musicians have participated. A bold and unique endeavor, the Brott Music Festival has created and maintained a reputation of high calibre musicians and performances for the last 30 years. Through the creation of the Festival, Brott Music has been able to perform a wide variety of musical genres and artistic styles across through the Golden Horseshoe including: jazz, opera, rock, pop, chamber in addition to orchestral music. In the last 30 years, the Festival has expanded its outreach outside of Hamilton to include venues across Southern Ontario.  

    Starting in 1988, the Festival spanned 11 days and has since expanded into a 9-week festival over the course of the summer months. The resident orchestra of the Brott Music Festival is the National Academy Orchestra of Canada (NAO), who played their inaugural season in 1989.

    The National Academy Orchestra of Canada playing Verdi's Requiem.

    The National Academy Orchestra was created by Boris Brott, the only one of its kind in Canada, not just as the orchestra-in-residence of the festival but also for post-graduate training of young musicians. The NAO program gives them an opportunity to experience life as a professional musician, as well as participate in masterclasses and seminars meant to aid them in their professional careers. The National Academy Orchestra trains through the mentor-apprentice approach which allows emerging young Canadian musicians to play alongside established professionals from some of Canada’s finest orchestras. The rehearsals and performance schedules mimic a professional schedule while adhering to high artistic standards. This orchestra is one of a few organizations that has been designated as an official Arts Training School by the Department of Canadian Heritage in 1998.  

    Brott Opera and Brott Chorus are two other programs that have most recently been established by the Brott Music Festival. Brott Opera helps train young opera singers, much like the NAO program, by offering coaching and seminars to aspiring vocalists. The program last for 2 weeks culminating in two performances: a PopOpera and a fully-staged opera. Brott Chorus includes paid positions for section leads in the Festival Chorus, paid understudy roles with positions in the Brott Opera Chorus, and one-week choral retreat opportunities. Both Brott Opera and Brott Chorus are open to quality singers of any age ready to perform with a full symphony orchestra under the baton of Maestro Boris Brott. As part of the festival, these programs offer scores, workshops, sectionals, rehearsals, accompanists, chorus masters, a full symphonic orchestra and leadership from one of Canada’s most decorated Conductors.

    Cirque du Festival featuring the National Academy Orchestra and Hamilton Aerial Group.

    In addition to encouraging young artists, BMF is also committed to introducing young people to the orchestra and orchestral music. Our Education Concerts are catered to students from junior kindergarten to grade 8. In addition to the musical aspect of our education concert, many of the performances are coupled with social issues, such as bullying, tolerance, racism and diversity. Programs are also specifically designed to meet the new Ontario Language and Social Studies curriculums and teachers are provided with pre and post-concert lesson plans. Students are encouraged to enjoy themselves while being offered interactive and multidisciplinary learning experiences. Brott Music Education Concerts have been shared with over 260,000 students since they began in 1999. Maestro Brott has always considered music education for children to be a major priority and he continues to find innovative ways to inspire children through music.

    An additional emphasis for the Festival has been placed on collaboration with those interested in innovative approaches to artistic production such as the Festival’s Orchestrate Hamilton! initiative. This has allowed BMF to partner with Supercrawl and local rock artists like Terra Lightfoot and the Arkells and to offer unique performances of cross-genre collaboration. Additionally, the PopUp Opera shows, at various venues across the greater Hamilton area, are a great way to involve audiences who may not have been previously exposed to opera. These collaborations add to the cultural variety and contributions which are offered in Hamilton while allowing the field to constantly evolve and keep the audiences ‘on their toes.’ Some of the past performances for Orchestrate Hamilton! include: PopUp shows with the Arkells, a performance at the Juno Awards in 2015 (the only orchestra to do so in 10 years), and performances at Hamilton's Pan Am Closing Ceremonies and at McMaster’s LiveLab.

    The Arkell's Max Kerman with Boris Brott onstage

    In Hamilton, the Brott Music Festival has garnered national attention with numerous awards and VIPs in attendance. The Festival has received the Tourism Ambassador Award from Tourism Hamilton as well as Tourism Business of the Year. From 11 days to an entire summer The Brott Music Festival has become an artistic standard bearer in the City of Hamilton, with the willing support and enthusiasm from its leaders and its citizens.

    It was the City of Hamilton itself which inspired Boris and Ardyth to create this festival: “I feel such a strong connection with the city of Hamilton, not just because I live here, but because it has been the epicenter of so much of my creative life, both onstage and off.”

  • Audience as Ally

    March 29, 2017 by Theatre Aquarius

    Luke Brown is a Hamilton-based theatre creator. He is currently serving as Associate Director for Theatre Aquarius and is the founder of Flat Earth Global.

    One Fringe, not so long ago, I sat in the darkness of a theatre, baffled by what I was witnessing. A convoluted plot, acting that wouldn’t have been out of place in a porno, and non-existent direction had all combined to form a megazord of awfulness.  Looking around the smallish crowd of 10 or so, it was easy to tell that I wasn’t alone in this opinion; I witnessed one person fall asleep, another spend the majority of the show on their phone and one brave soul do what I so longed to do: walk out.

    Despite my best efforts, the writer spotted me on my way out. I searched for something supportive to say, complementary but not too complimentary; vague, you know?  Before I had the chance, they launched into a tirade about how the audience was stupid for not understanding the show. This asshole was blaming the audience. This bothered me. Deeply.

    I’ll be honest, I’m as guilty of doing bad work as anyone else, and I’ll be guilty again in the future. We all make mistakes, that’s part of the process of being an artist, but the one mistake that is unforgivable is blaming our results on the audience. We do shows for an audience. All of the rehearsal in the world can't truly prepare us for what happens when an audience enters; they're unpredictable. Something you think is so clear will make them scratch their heads. Anyone who doesn’t take an audience’s reaction into consideration is showing a fundamental lack of respect and understanding of what the medium is.

    All this made me stop and reflect on the way I work, specifically how I worked on a show called Séance, which I co-created with Nicholas Wallace. During Séance I realized that a script is to a show what Pinocchio is to a real boy; they both require something to become what they desire to be. With scripts, that something is an audience. A script without an audience remains just that, a script and not a show. It’s so easy to think we’ve been clear in our storytelling when in fact we haven’t been, and every performance of Séance showed us where we had gone wrong. Individuals may be useless but an audience, as a group, are always brilliant. If only we had more time to listen and then fix things. This listening to the audience made the show a grind: daily rewrites, not enough time to rehearse them but in the end, the show was better for it.

    Inspired by my conversation with this disgruntled and dangerously untalented writer, and with Strange and Unusual, our next creation on our minds, Nick and I approached Colette Kendall at the Staircase about doing a weekly show. It would give us the opportunity to work in front of an audience and have time to properly rework material. We agreed we’d take a handful of illusions Nick was comfortable with and pair them with untested material. We’d have a week between each show to rework the material. Following each performance we sit down and have brutally honest conversations about what needs to happen to make next week’s show better. We then implement the changes. As material gets to a point where we feel confident about it we pull it out of the show and replace it with something else that we want to try. When we fail, which is often, we embrace it. Failure allows us to see where we’ve gone wrong; it helps us find a way to solve the problems so that the next audience will have a better experience. Each performance reflects what we learned from the previous one.

    Don’t misconstrue this as me advocating for you to abandon your vision of a piece to placate an audience, but rather use it as a tool to gauge whether or not your vision is being communicated to the audience. We do the shows for them. If they’re bored or confused then it’s our fault, not the fault of the person who gave up their time, money and left their house to see our show. The audience is our partner, we need to trust them or we’ll never make that puppet into a real boy.

    You can see Nick and Luke attempting to turn a puppet into a real boy Wednesdays at 8:00 PM until May 3rd. In May, Strange and Unusual will debut at Theatre Aquarius in the Studio Theatre.



    November 11, 2016 by Bud Roach

    David Fallis (Artistic Director, The Toronto Consort; Music Director, Opera Atelier) in conversation with HAC Board member and Hammer Baroque Artistic Director Bud Roach. November 7th, 2016.
    The Toronto Consort will present ``The Italian Queen of France`` at Hammer Baroque on Sunday, November 13th, 2016, 4pm.

  • Interview with Recordist Alison Melville

    September 30, 2016 by Bud Roach

    This week, Hamilton Arts Council Board member and Hammer Baroque Artistic Director Bud Roach presents the second installment of his new blog video series. This second in-depth conversation features Alison Melville (recorder - Tafelmusik, Toronto Consort) who performs in Hammer Baroque concerts on October 8th (ACTA Recorder Quartet) and November 13th (Toronto Consort).