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.

  • What and Why Site-Specific?

    January 28, 2016 by Claire Calnan

    (Rose Hopkins is a Hamilton playwright and performer. She is a founding member of Mooncalf Theatre and a member of the Hamilton Fringe Festival'ALERT Program )

    By Rose Hopkins

    Hamilton’s first winter performance festival, Frost Bites, will be kicking off this February 11th to 14th at the Cotton Factory (270 Sherman St.) This is good news. With one ticket you have access to the work of seven different Hamilton companies and over thirty site-specific performances a night. So, what is site-specific theatre? It’s performance that engages a space typically not used for performance. And it’s become a bit of a “thing.”

    A quick Google search pulls up companies across North America and Europe who specialize in this work. Consider Sarah Ruhl’s Passion Play, produced in 2013 by Outside the March, Convergence Theatre & Sheep No Wool. Performed in Toronto’s Withrow Park and Eastminster United Church, it examines a group of actors putting on a passion play in three distinct eras, utilizing outdoor spaces and the Church’s architecture to contextualize the story.

    Passion Play by Outside the March Theatre Company

    Okay, so right now some of you may be thinking, “That’s great, but why do I want to pull myself out of my warm house to hang out in an old cotton factory in the middle of February to see Frost Bites?” Because site-specific theatre is the new black. Here’s why.



    Site-specific theatre offers creative options that other performance doesn’t. As part of Mooncalf Theatre, a company participating in Frost Bites, my imagination ran wild when we chose the parking lot as our performance space. Did we want to use the space literally as a parking lot, or could we transform it to take on a new meaning? Would the whole piece take place in a car? Would we build a completely different set within the lot? How many audience members would watch the piece at once? In a proscenium theatre, these choices aren’t always available.

    Flip side: Big dreams require work to become a reality. There were some realities of the parking lot that had to take some creative problem solving to make work. For example, how would we get power to the playing space so we could have some lighting? What would we do if a car drove through during performance? How would we keep the actors warm while performing outdoors in the middle of February? What happens if it snows? These were all things that had to be taken into consideration.



    Site-specific performance can take you to some pretty unexpected places. Abandoned churches, backyard sheds, strangers’ cars, and shipping containers have all served as venues for this kind of performance, and they all lend themselves to create a very specific experience for the audience.  Mooncalf Theatre’s piece, The Distance Between Us and the Sun, has the audience looking down into the parking lot from a second story window. Only eight people can watch the piece at a time, so there is a sense of intimacy even though the audience is fifty-something feet away from the performers. This contrast of distance and closeness creates a feeling for the audience that perfectly serves the story we are trying to tell.

    The flip-side: It’s not for everyone. British company Blast Theory ran a piece in 1998 called Kidnap. In Kidnap, two lottery winners were taken prisoner (literally snatched in broad daylight) and held for 48 hours while their kidnapping experience was broadcasted online for others to watch. Definitely a specific participant experience, but not one that everyone might enjoy.

    Kidnap by Blast Theory

    **they have a pretty cool archival website, you can tour the safe house and stuff: BLAST THEORY


    Site-specific theatre can be more affordable. If a piece calls for a specific set, going to an existing living room can be less expensive than building one onstage. And often, found performance spaces can be less expensive to rent than traditional venues. This is great for new artists without a ton of resources, and even better for audience members whose ticket price will be lower because of it.

    The flip side: It can also be more expensive. Sleep No Moreby U.K. company Punchdrunk, has had a long run in New York. The film-noir re-imagining of Macbeth has masked audience members exploring the fictitious McKittrick Hotel - actually three adjoining warehouses in Chelsea that span over 100,000 square feet. One can assume their rent isn’t pocket change.

    Sleep No More by Punchdrunk


    We all love Hamilton. From Gore Park to Albion Falls, the vintage shops on Ottawa Street to the waterfront trail by Cootes Paradise, this is the place where we work, play, and create. The architecture of our buildings, the history of our parks all serve as valuable inspiration for performances about the place we call home.

    This is exactly the type of work that the growing ‘indie-theatre’ community in Hamilton is producing, at festivals like Frost Bites and the Fringe. Performance that breaks convention, and isn’t contained inside the walls of the Players Guild or Theatre Aquarius, but meets the audience in the communities where they live. Performance that speaks to our identity as Hamiltonians. What more could you want?


  • Lit Love and the Hamilton Literary Awards

    December 17, 2015 by Stephen Near

    On Tuesday, December 8th, a packed house at the Norman and Louise Haac Studio Theatre of Theatre Aquarius celebrated the literary arts and the accomplishments of local authors at the 22nd Annual Hamilton Literary Awards. The Literary Awards are a signature event for the Hamilton Arts Council and every year we are humbled and proud to present this event; humbled by the amount of literary talent that call this city home and proud that we can celebrate their achievements every year at the Awards.

    This year, we had the fortune to welcome Jeff Goodes as our Master of Ceremonies. Jeff is well known to listeners of CBC Radio for his work on Overnight as well as Tapestry and White Coat/Black Art. In his opening remarks, Jeff remarked upon the plethora of stories that make up Hamilton’s past and how those stories have impacted this city’s authors.

    Master of Ceremonies Jeff Goodes

    We also welcomed Lorna Zaremba, General Manager of Theatre Aquarius, to the podium where she ardently encouraged Hamilton writers to continue the tradition of storytelling not just on the page but also on the stage. Lorna’s remarks reminded us all that writing, no matter the genre, is often a solitary practice which sees true fruition only when it is shared with an audience.

    Lorna Zaremba of Theatre Aquarius

    The ceremony presented Awards to four outstanding authors writing in categories including Poetry, Non-Fiction and Fiction. This year’s prizes went to Gary Barwin for his most recent collection Moon Baboon Canoe (Poetry Award), John Terpstra for his lyrical memoir The House With the Parapet Wall (Non-Fiction Award), and Krista Foss for her debut novel Smoke River (Fiction Award).

    Krista Foss accepts the Literary Award for Fiction

    We also featured several notable presenters who read from the winning books and offered their own reflections on the importance of the written word in Hamilton. Those presenting this year’s Awards included Judy Marsales (Judy Marsales Real Estate Ltd), Ian Elliot (Different Drummer Books), and Kerry Cranston-Reimer (Bryan Prince Bookseller).

    Jane Allison of the Hamilton Spectator

    We also presented the Kerry Schooley Award for the book that best captures the spirit of Hamilton. Named in honour of the late author Kerry Schooley, the Award celebrates the indelible mark that Kerry made on the writing community here in Hamilton. Sponsored by The Hamilton Spectator, and presented by the Manager of Community Partnerships, Jane Allison, this year's Kerry Schooley Award went to author Chris Laing for his noir-infused detective book A Deadly Venture. Chris’ book is a sequel to his first Hamilton-set crime novel, A Private Man.

    Chris Laing accepts the Kerry Schooley Book Award

    The Literary Awards are over for 2015 but the call for the 23rd Annual Literary Awards will be going out early in the New Year. That means the Hamilton Arts Council can look forward to another crop of books sent to our offices from writers across the region. Storytelling is such an indelible part of what makes this city so unique that I can’t wait to see those stories, and hear those voices, coming our way in 2016.

    22nd Annual Literary Award Winners and the Sponsor Presenters

    If you want to learn more about the winners and the finalists from this year's Lit Awards, scroll back through our blog and you'll find individual highlights for the different categories along with summaries of the books. And as you head out looking for that perfect gift this season, be sure to check out our sponsors at Bryan Prince Bookseller, A Different Drummer Books, and Epic Books to pick up a copy of the nominated and winning books just in time for the holidays!

  • 22nd Annual Hamilton Literary Awards: Kerry Schooley Award Finalists

    December 4, 2015 by Stephen Near

    This is the fourth, and final, part of our four part blog series showcasing the finalists of this year's 22nd Annual Hamilton Literary Awards. Find out which authors will take home the prizes by attending the gala celebration on Dec. 08, 2015 at Theatre Aquarius.

    For the third consecutive year, the Hamilton Literary Awards are proud to present the Kerry Schooley Book Award. In honour of the passion and legacy of its namesake, this award seeks to recognize literary works most evocative of the Hamilton region. Kerry Schooley, who passed away in 2010, was a poet, writer, and teacher devoted to supporting the city’s artistic community. This year, the Hamilton Arts Council is pleased to continue this tradition by introducing our three shortlisted titles for the award, each of which explores Hamilton’s rich and resilient past.

    Novelist Chris Laing returns with his second installment of the Max Dexter Mystery Series, A Deadly Venture. Set in Hamilton during the 1940’s, this latest thriller once again details the exploits of private detective and veteran Max Dexter and his assistant Isabel – this time as they investigate the arrest of Max’s friend Roger Bruce after one of his wealthy clients is found dead. Their adventures will take them deep into the city’s mobster scene, and with Laing’s trademark craftsmanship and wit, the stakes have never been higher.

    In Revenge on the Fly, Sylvia McNicoll brings us back to 1912, a year ravaged by disease and the efforts to control it. Her story centres around Will Alton, a twelve-year-old Irish immigrant who moves to Hamilton with his father after losing the rest of his family to widespread sickness. When Will hears of the local fly-catching contest, he sees an opportunity to not only support his father but to take revenge on the very thing that killed his mother and sister. Filled with historical insight and imagination, this is a novel for all ages about fear, prejudice, and the triumph of compassion. 

    John Terpstra’s latest work, The House with the Parapet Wall, describes the author’s wanderings, both physical and emotional, following the loss of his mother. As he walks through the streets of his childhood home in Hamilton, he imagines the lives of the nineteenth-century inhabitants and their own experiences of grief. With beautifully styled prose, Terpstra explores the connections between past and present, life and death, brick and bone, and the power of place to define family.

    This year's Kerry Schooley Award is sponsored by:

    Tune in to #HamLitAwards to follow the 22nd Hamilton Literary Awards via Twitter and we'll see you Tuesday, Dec. 04, 2015.

  • 22nd Annual Hamilton Literary Awards: Fiction Finalists

    November 27, 2015 by Stephen Near

    This is the third in a four part blog series showcasing the finalists of this year's 22nd Annual Hamilton Literary Awards. Find out which authors will take home the prizes by attending the gala celebration on Dec. 08, 2015 at Theatre Aquarius.

    From a compelling story inspired by real life, to a historical fable for young adults, to a harrowing tale tackling vital social issues, the books in our 2015 Fiction shortlist offer a diversity of voices and approaches to storytelling. From Smoke River by Krista Foss, White Oneida by Jean Rae Baxter, and Carafola by Christine Miscione, each of these stories represents Hamilton storytelling that is both unique and engaging.

    Krista Foss’ debut novel Smoke River describes the tensions between a Mohawk community and its neighbouring town after a proposed housing development turns into a land dispute. Loosely based on events in Caledonia, the narrative follows several characters on both sides of the conflict as they struggle through divisions, heartbreak, and terrible violence. This book is a fearless study of character, of family, and of the lines we draw and those we will cross for our beliefs, expertly positioned against luminous descriptions of the Southern Ontario landscape.

    The White Oneida, Jean Rae Baxter’s latest historical novel for young adults, tells the story of Broken Trail, a young white boy captured and raised by the Oneida tribe. Under the influence of military leader Joseph Brant, Broken Trail attends a boarding school with the intention of uniting its students, the first step in creating an independent aboriginal nation. With honesty and strength, Baxter combines the best of history and fiction to bring us a harrowing tale of injustice, loyalty, and one boy’s journey to find himself in the midst of two very different worlds.

    In Carafola, author Christine Miscione’s experimental style takes flight, depicting a woman’s tumultuous descent into mental illness. Relentlessly self-aware and often cynical, the narrator struggles through broken relationships, insecurities, and heavy losses during her early twenties, caught between the reality inside her head and the one out of it. With careful insight and beautifully raw prose, this novel speaks of vulnerability, of doubt and growth, and of the decisions that carry us forward.

    This year's Award for Fiction is sponsored by:

    Next: the finalists for the Kerry Schooley Award

  • 22nd Annual Hamilton Literary Awards: Non-Fiction Finalists

    November 19, 2015 by Stephen Near

    This is the second in a four part blog series showcasing the finalists of this year's 22nd Annual Hamilton Literary Awards. Find out which authors will take home the prizes by attending the gala celebration on Dec. 08, 2015 at Theatre Aquarius.

    The finalists for this year's Non-fiction category for the Hamilton Literary Awards are all examples of true and compelling tales matching that of any work of fiction. From The House with the Parapet Wall by John Terpstra, Hidden Harvest by Mark Coakley, and Echo Soundings by Jeffery Donaldson, these tales recount real-life with the elegance of poetry and confront readers with hidden chapters of the world around them.

    In John Terpstra’s latest work, The House with the Parapet Wall, he walks through the streets of his childhood home, imagining the lives of the nineteenth-century inhabitants. As he considers these lives, with their joys and grief, Terpstra also walks through his own memories and emotions on the death of his mother, deftly weaving both narrative strands together on the page. With beautifully styled prose, Terpstra explores the connections between past and present, life and death, brick and bone, and the power of place to define family.

    In his exposé Hidden Harvest, lawyer Mark Coakley unravels the truth behind Canada’s $30-million cannabis grow op. Comprehensive and bold, his story tracks the culprits as they remodel an old Molson factory north of Barrie, transforming it into what would become the largest marijuana operation in North America. Following its downfall in 2003, Coakley examines the prolonged search for those involved, the questionable sentences issued by the court, and the violence and secrecy that surrounded it all. 

    Echo Soundings by Jeffery Donaldson is an insightful and compelling collection of essays on the nature of poetry and poetics. Heavily influenced by literary critic Northrop Frye, the text challenges conventional modes of interpretation, instead presenting poems as dynamic dialogues which extend through space and time. Donaldson looks at these "ghostly conversations" in the works of North American writers, tracing the echoes that weave them together with depth and simplicity.

    This year's Award for Non-Fiction is sponsored by:

    Next: the finalists for Fiction