lydia_lemay

 

“That’s what all people do when we are frightened: we give away parts of ourselves. No one steals them or forces us. We give away our best parts: the ones that make us whole and right. Piece by piece we give them up until finally... - we are born with everything in here [inside] -everything we need to be happy and complete. But as soon as life starts frightening us, we give away pieces of ourselves to make the danger go away. It’s a trade - you want life to stop scaring you, so you give it a part of yourself. You give away your pride, your dignity, or your courage... When all you feel is fear, you don’t need dignity. So you don’t mind giving it away - at the moment. But you’ll regret it later because you’ll need all those pieces. You can always take back the lost parts of yourself if you can find and recognize them.” Jonathan Carroll “The Ghost in Love”

  The multi-media - photography, videography, digital art, found objects, et al - exhibit by Paul Clancy pays proof to his many styles and techniques, but the main theme of the show quickly because apparent: it is WOMEN. (Or WIMMYN or however you may choose to spell it.) 

 Women of all sorts:  thoroughly domesticated or woodland creatures, “respectable’ bourgeois matrons and leading-edge artists and warriors, athletes, dancers and fringe-dwellers and “ordinary” wives and mothers, women of Mystery and those who seem to have chosen more mundane existences . (Although, of course, no one is truly ordinary, even those who identify themselves as such. It takes an artist’s eye to be able to see that, and, most importantly, to point out the unique essence of all. That is one saving grace we have against the pressures to belong and to conform.) At times, the many roles these women play overlap.

    Mr Clancy, who very generously shared his views with me, says that he is particularly impressed with the many metamorphoses that women tend to undergo throughout life, more so than men. As has been proposed by biologists, females – which includes human females – have greater flexibility when it comes to adopting to drastic changes, have more “integrated” brains, are better at multi-tasking, etc. Those may be generalisations, but this is an aspect of femaleness that fascinates Mr Clancy especially. Have a look for yourself:


"La Femme Fauve"



"Thomas"

"Beverly Hills Retro"

"Generation"

"Swimmer"

 

   When it comes to using various techniques and styles, these are very eclectic, which is called for, needless to say. A true artist uses whatever means may be at his/her disposal, whatever seems to be appropriate to a particular piece. The creations dictate themselves. It is takes an open mind and heart to be able to listen and to heed the voice of the inherent magick. Since the very act of dissecting tends to make that magick dissipate, I would rather not dwell on the technical aspects too much, except to say that while technological tools such as the PhotoShop are used on occasion, Paul Clancy is not focused on such means to the exclusion of other more traditional methods. He is a veteran of the dark-room. Layering is sometimes very subtle, sometimes bold, the use of “mirroring” both literal and digital, providing a view into other dimensions:


"Merge2"

Note the strong chiaroscuro effect above, an almost two dimensional property.  

"Ascent"

 How inspiring and powerful is the above work! Have you read the seminal work titled “The Descent of Woman” by Elaine Morgan? While this state of oppression would never last, and like Persephone, WOMAN is making her way back to the surface and rises high above it, at last, it is heartening to see someone celebrating the Ascent, finally. I am curious, though: Mr Clancy did use the word “feminist” in my hearing, and it came out in a somewhat negative tone of voice, or at least, that was my impression.

 I suppose, I have to reveal something personal here: I had “feminism” thrust upon me as a child, with no say in the matter, and while I tend to espouse some opinions that may be viewed as “feminist”, I no longer understand what this highly loaded and used and abused word means. 

 (“I've said "Jiminy jillikers" so many times the words have lost all meaning!” Milhouse, The Simpsons) 

By this point, I can only agree with another woman: “I myself have never been able to find out what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat”

Rebecca West, “The Clarion” 1913 

The transitions - both in terms of still and video work – tend to be gradual, visions merge and fade, come into being and evaporate with the slowness of the Cheshire Cats’ grin. Simultaneously serious and playful, impacting both mind and the emotions, provocative – to some – and intimately familiar to others, these images succeed at what is Art’s intended goal: to open the eyes to the rich complexity, infinite variety of the world, masks - and what may lie beneath them - to see that there are so many more points of view that can co-exist alongside what has been termed as the “consensual reality”. 

This is where the so-called “popular culture”, or the worst extremes of it, which tends to force a very limited view of the world, impoverishes all who are subjected to it, and in our little corner of the planet, we need to be exposed to far more instances of beauty, which is why the need for public galleries is so vital.  

 The models consist primarily of family members and friends, many of the shots have a very unrehearsed “vérité” feel to them. This intimacy is achieved by stealth, apparently. Mr Clancy tries to be as unobtrusive as possible, blending with the surroundings as his subjects go about their business and forget of his presence. Some of the candid shots of strangers of the street, which remarkably revealing in ways that posed portraits could never be, do raise a question of the privacy issues for me. Is it a violation? Do the ends justify the means?

 There is so little privacy left, with the surveillance cameras everywhere – event in Manitoba woods is the Big Brother watching the animals! – this attitude does not rest comfortably with me. But, on the other hand, as more people become aware of the omnipresent eye in the sky, this spontaneity may well become extinct.

"Entry"

"Sand"

"Light Speed"

A member of the Kokoro Dance collective, on Wreck Beach:(A wonderfully topsy-turvy, otherworldy, introspective and mind-expanding shot!)

"World View"

While I agree with MrClancy’s statement that the female nude is the subject that has been done to death, still, I have to say that he manages to bring a fresh perspective, a different and novel angle, literally:

"Tattoo"
 

A very lovely photo! And let us refrain of making assumptions about the people one might meet, even in this trapped-in-a-time-warp locale. According to the creator,  “a woman came up and talked to me about her and her daughters explorations into fetishism at my opening. Totally out of the blue.” While this may be seen as a hopeful sign that some people here dare to brake out of a very confining mould, I would not have too many expectations. As someone with personal familiarity with such subcultures, among others viewed as “threatening” by the conventional society, I know, that there is pressure to conform even among fetishists, ironically enough. Little cliques form even among those who espouse “nonconformity” and many wind up toeing the line even in the fervour of their “rebellion”. I suppose it is human nature to seek safety in numbers, to sacrifice one’s individuality for the dubious advantages of belonging. (Hence the quote at the top of this essay, in case you were wondering.)    

 Graceful limbs and other parts of a woman’s geography (to borrow Natalie Angier's term) fascinate Mr Clancy as you can see:
"Wound"

"Touch"

 

The work below, known as “Kimono”, is an expression of digital magic and to me, at least, is evocative of Pablo Picasso’s collaboration with Ballets Russes in 1913-14, as well as that of other artists associated with this dance company, such as Leon Bakst and Natalia Gontcharova (FR.spelling.) The colours and the shapes of the avant-garde movement seem to be invoked:

"Kimono"

While the above piece may be influenced by what was the cutting-edge of the early twentieth century, whilst employing modern tools, the following works are all from this epoch, even have a futuristic feel about them. (But let us not trap ourselves in the illusion of time…) 

"Light"

"Positive/Negative"

 

 Other media include an exhibit of electric mixers – one from an earlier era, still in working condition and with easily replaceable parts, several others - designed to fail as soon as the warranty run out, using “cheap’ labour and shoddy materials. This amply illustrates the runaway consumerism, the throw-away mentality, the after-us-the-deluge kind of mindset which may be the greatest malaise of the current situation. This has been said so many times, but still bears repeating until is becomes deeply ingrained in the human psyche – Re-use, Recycle, Re-purpose everything you may come into contact with, use this as an impetus to your own creativity! (Necessity may be the mother of invention, and besides helping the Earth, it stimulates imagination and intelligence!) Have any leftover maquillage you do not wish to end its days in the landfill? Do as Mr Clancy does and make paintings with it! (I am not implying that Mr Clancy recycles his own, I am not privy to such information, only that he has access to it…<insert grin>).

Anyway, to sum up: a very thought-provoking, sense-pleasing shows! Kudos!

 

 

 

As I Went Walking: Roving Artists  - September 2 - October 11



This was an inspired show by a group of Sunshine Coast artists who have been meeting weekly at various locations for quite a while now. The range presented was quite astonishing, not only due to the fact that the group members use diverse media but also vary in skills, approach and experience. Some of them have been painting for years, others are relative neophytes.

The loosely knit group includes Mary Burgess, Vivian Chamberlin, Judy Crowhurst, Pat Drummond, Janice Edmonds, Tom Fraser, Ross Harry, Carolyn Nicholson, Julie Skippon, Peggy Small,
and Leo C. White.

As the name of the exhibit suggests ,"As I Went Walking" is the one unifying feature. Paying close attention to what appears to one's inner eye and rendering the resulting emotional and mental states onto canvas, as the artist takes a walk on a beach in B.C. or a park in England or even through her own mindscape.

Here are a few stand-outs:


The above piece by G.D. Ross Harry, titled "Global Warming" (oil on canvas)  is the one that had the most immediate impact. Its wistful, melancholic  beauty draws the viewer and make them question their own place here on this imperilled planet. 
For me, some of Chesley Bonestell's works came to mind, the sadness and lyricism of the latter's ""The End of the Earth When the Sun Dies":




Chesley Bonestell, a painter, architect and illustrator, (1888 - 1986), was best known for his "astronomical" paintings, and is usually described as having had inspired the US space program.
Let us hope that the oil by Ross Harry will produce a similar effect, in terms of  the raising of environmental consciousness. 

"Brew Creek" by Peggy Small, on the other hand, literally "grounds" the onlooker, the earthiness, the rich tones and brush-strokes of bark-like texture, reassure us that all is not lost, that nature is resilient and will survive if given a bit of respect. 


Peggy Small "Brew Creek" oil


And off to the wondrous realm of Judy Crowhurst's head:



"Fairyland" by Judy Crowhurst, acrylic

Ms Crowhurst, who was gracious enough to give me an impromptu interview, grants that she simply follows her intuition and these psychedelic colours and fantastic images are the result. (Perhaps, into a  whole different dimension?)
She paints from photographs as well and the titles often come about in the course of conversations with friends.

Another member of the group, Carolyn Nicholson, creates delicate, haunting landscapes and finds inspiration in the works of the U.K. sculptor Philip Jackson, for instance.

Her watercolour/collage piece "Philip Jackson's Chanting Cimarosa" is one drwas the eye instantly:




"End of Summer at the Nursery" by Pat Drummond, while also executed in watercolour, displays a more robust palette:



A celebration of Earth's bounty on one of those endless late-summer days.

The rich, intense watercolours by Jan Edmonds, such as "Mari's Pride" seen below, can also be interpreted as explorations, but from a different perspective:






Vivian Chamberlin, whose acrylic painting "In Plain View" you are about to enjoy as you scroll down, states
that rather than to follow a specific plan, she likes to eschew preconceived notions and allows the spur-of-the-moment impressions dictate both the subject matter and the style of execution, which has resulted in pieces that surprised even herself: 





On the other hand, "The Fairy Garden" a watercolour by Mary Burgess, is one that seems to be derived from the practice of sitting quietly and watching and listening, making oneself blend in and, thereby, inviting the denizens of secret hideaways to emerge. Pure Magick! 






This acrylic work by Leo C. White, titled "Home Site Creek", (and please accept my apologies for the quality of the photo)  is representative of the beauty of British Columbia'a wilderness, the rainforests with their many churning streams and "nurse-logs" so abundant here:




And last, but certainly not least, this watercolour by Tom Fraser, "Tête-à-tête", which this reproduction can in no way pay justice to, has a timeless quality to it, the conversation is ongoing, whether the chairs' occupants are present in a corporeal sense, matters not: 








Some links you might like to check out:

www.philipjacksonsculptures.co.uk/

www.bonestell.org/

And, of course, The Gibsons Public Art Gallery, which hosted the exhibit:

www.gibsonspublicartgallery.ca/


Nefri Lyske:












www.suncoastarts.com/nefrilyske

Coastal Lives

 This exhibit, which ran from July 22 through August 30, 2010, was exactly about that: documenting the lives and sites of the Sunshine Coast, seen from a somewhat surreal and highly original perspective.
 
Three painters and an artist whose chosen medium is porcelain took part in this show: Sheila Page, Sherry Cooper, Bill Miloglav and Michaela Cochran presented an array of works that were thought-provoking, witty, and pleased the eye and the heart.


 I will start with Sheila Page and her rather subversive (in a most positive sense of the word) oeuvres.

  At first glance, these have the innocence of a Norman Rockwell, a depiction of a time that never was.
  The paintings, whose unifying theme is that of “A Family At Sea”, are, in fact, a personal exploration.

 According to their creator, “the images in the art are based on photographs” of four members of the artist’s family of origin, presented in “metaphorical context”. Collage-like techniques and deceptively simple portraits that place the characters in highly unusual – yet perfectly appropriate to anyone with a bit of imagination – settings, can be best described as belonging in the category of “magical realism.”

  Sea creatures abound and even encompass the – at times - hapless and unwitting protagonists: a busy uniformed man sitting at a desk crawling with tentacle-like telephone lines, completely surrounded by water, apparently oblivious to the last circumstance:
 

Sheila Page "Desk Job" acrylic on canvas 16X16
photo copyright Paul Clancy
©2010

What appears to me to be the crew of a submarine and their vessel in an embrace of a giant octopus. (Allow me to apologise for the quality of the photo, but it should give some idea of the work;)



Sheila Page, "Standard Deviation" acrylic on paper 29X37


A fisherman and his young daughter proudly displaying a “catch” whilst standing on as deck of a house with yet another octopus be-sporting in the sea just a couple of feet away.



Sheila Page "Caught" acrylic on linen 16X16

Yet some of the people depicted are not at all unaware of their surroundings: the little girl being rescued by a giant fish:




Sheila Page "Rescue" acrylic on linen 12x12

or the elderly woman riding the whale appear to be quite apprised of their situation.


Sheila Page "Whale Rider" acrylic on canvas 16X16

The salmon and trout whose bodies are inhabited by human spirits have left an indelible impression as well. (So many cultures, especially those termed “aboriginal”, speak of “soul riding”!) The world is not what is may appear to be, and “consentual reality” does not hold sway over every mind! There are great depth, intelligence and humour to be discovered here!


Sheila Page "Green" acrylic on canvas 16x16
photo copyright Paul Clancy
©2010

Vancouver artist Sherry Cooper, whose summer home is located on Gambier Island, has titled her series of paintings on offer at the gallery “Seedling of Hope on Gambier Island”. Her amazing article, the result of her research for this art project, depicts the history of the Hjorthoy family and may be found here:

www.rickgustavson.com/images/history/OrchardProject.pdf 


This is the story of “hard-working, adventurous, courageous immigrants” who settled on the Gambier Island in 1896 in hopes of establishing a prosperous existence on their apple orchard. (The orchard survives to this day, although its life-force is much depleted.) The project examines the decisions and choices made by them, and whether this “leap into the unknown” that all immigrants take, was wise. (But only those who made these choices can answer that.) While many were/are driven by desperate circumstances, such as war, revolutions, famines, climatic changes, this did not seem to be true in the case of Norwegian immigrant Hugo Hjorthoy, who was a successful and highly literate man. And stories such those of his family have not been told much before.

 Here is a depiction of the “farm wife”, perhaps, taking a moment to reflect upon her life. Could have been influenced by Gustav Klimt in its style, it seems to me. What do you think? (Please feel free to leave your comments at the bottom of this blog instalment.)




Sherry Cooper "Reflections" mixed media collage on panel 24x32
photo copyright Paul Clancy

©2010

Here is one by Klimt:


Gustav Klimt - Mother and Child (detail of
"Three Ages of Woman" 1905, oil on canvas


Another  Canadian artist, Duncan Regehr, who is heavily influenced by Klimt and the Viennese school, also comes to mind Here is one of his recent works:


Duncan Regehr  - Circe (From the Magic series)oil on board


This portrait of the apple farmer, dressed in his courtly robes and wig, taking his produce to market by boat, illustrates the phenomenon of self-reinvention. (And one should never make assumptions about people, especially those who come from parts unknown.)



Sherry Cooper "To Market" mixed media on panel 24X32
photo by Paul Clancy  copyright ©2010


This triptych is a complex of stories in itself, one can study it for hours and learn something new with each viewing. The dark and the happy times, the sea, the land, the trees, the difficult, dangerous journeys undertaken, being torn between two cultures and trying to find one’s personal identity in the midst of it all!




Sherry Cooper Triptych #1 Mixed media on panel 14x42
photo copyright Paul Clancy  
©2010

One wonderful and unexpected touch: the old weathered window-frames that are used to showcase the paintings add so much to the ambience. Not only in the sense of the recycling in itself being appreciated, these literally provide a “window” into the world of this family and others like them, where every article was used and re-purposed, and the peeling paint is reminiscent of old structures much worn by the salt-laden sea air here. The broken old oars placed in the corners of the gallery provided an authentic touch as well, bringing that connection closer.

This brings me to the work of Bill Miloglav, shown in the Harbourview Room, who also depicted some “everyday” objects and lent to them a magical, Impressionist feel:





Bill Miloglav "Old Work Horse" acrylic 28X21

 One frequently sees these slowly decaying old pieces of farm equipment on the Coast, some of them have become the local landmarks, even. Shown in a field of moon-lit grass, the machine ”put out to pasture” , its best days behind it, has a melancholy air to it.

 The movement and intensity of “The Storm” are palpable:




Bill Miloglav "The Storm" oil 24X29

Probably, there are still old-timers here who remember “Dr.Pierce’s”?


Bill Miloglav "Dr.Pierce's"  acrylic 36X36


 Mr Miloglav uses a variety of media in his art, including oils, acrylic and watercolours. The subject matter is derived from his life's experiences and his passion for restoring old cars is parlayed into his two-dimensional creations. (Although the last attribute is not really accurate, since his muses, whether they be rusted out old tractors or vibrantly glowing trees, are rendered in depth which gives gives the impression of far more than the two dimensions, perhaps as many as four?  That would include, of course, the emotional dimension. The artist claims that "he often likes what he sees [on the canvas] better than what he had intended." Ah, the alchemy of the creative process that has surprises in store even for the creator, that is the one common denomminator among all artists. 


Michaela Cochran mentions in her artist’s statement that her goal to “draw attention to our rituals of daily life.” The fragility and the “highly ornate” property of her creations discourage rough handling, even if the objects are meant to be used in mundane” existence. Wonderful colours and crystalline glazes used here create a sense of celebration, joy, exuberance. One is forced to slow down and pay attention:












Many thanks to Paul Clancy for his generosity in kindly providing some of the illustrations.

To access the Gibsons Public Art Gallery Website, click here: www.gibsonspublicartgallery.ca/

“Smell the sea and feel the sky
Let your soul and spirit fly into the mystic
And when that fog horn blows I will be coming home
And when that fog horn blows I want to hear it”

Van Morrison “Into the Mystic”



This summer, the Gibsons Public Art Gallery had hosted an amazing exhibit by a local Renaissance Man Stewart Stinson. Titled “The Crossing”, this group of oil paintings is to be enjoyed as a whole, ideally. The pieces are arranged by the points of the compass - North, East, South, West, in clockwise fashion, as you may note. According to their creator, all of these pieces taken together work as puzzle of sorts. Yet, the impact of each individual painting cannot be denied. But the artist himself is in best possible position to present his work:

 “The Crossing is an interconnected series of sixty-five oil paintings on canvas. Together they form a continuous image of the crossing of Howe Sound from Horseshoe Bay to Langdale. Views from out on deck with a face full of wind. Views through sea sprayed windows. Blurred views from a streaked camera lens, snapshots taken as the boat rocks back and forth. North, East, West, South.
Snow topped mountains, islands of forests, rocky beaches, waves shimmering with the reflection of an ever changing sky. A rainy sky, a cloudy sky, a sky that breaks open to blue with sunlight, sparkling. In the face of whatever differences we may have as people, we all agree, at the very least, that the scenery is beautiful.
 The ‘Spirit’ of coastal BC cannot be contained or captured. These paintings follow the foolhardy tradition of attempting to put onto canvas with paint what cannot be put onto canvas with paint.”



  Perhaps, but that what a remarkably daring and successful attempt!
 The masterful illusion created by a very unorthodox – and more power to him! – technique, is that of truly experiencing the movement, the ever-shifting wake of the ferry, the water and the sky reflecting and complementing each other, the elements blending and separating in an eternal dance of sorts. Quite imperceptibly and gently, the viewer enters into the landscape and becomes one with it.



 No two ferry crossings are ever experienced in the same way. One of the visitors to the gallery commented on the “signs of our civilisation” shyly peeking out, often rendered with just a few brushstrokes. One needs to be in close proximity to the works to see any such hints of human activity. This creates a welcome (to me, in any case) impression that, after all, once the humans – or at least, those who can be categorised as “takers”, as Daniel Quinn calls them in his books – are gone, the mountains, the sea and the sky will still be here. And the Earth will heal Her wounds.



 Mr Stinson talks of seeking “to find the cosmic and microcosmic rhythm linking all things together.” (A Unified Field Theory as applied to the arts? Although, needless to say, but I’ll say it anyway, Art is very much part of the great cosmic equation, Life, The Universe and Everything and all…)





 While it may be challenging to my mind to encompass, apparently, Mr Stinson, in an earlier incarnation, was a “federal agent”. He had left that career in order to pursue his passion and to raise a family.
 Stewart does not usually take photographs in order to capture what may be termed “reality” – for the lack of a better word”, but works from memory. As he chooses not to wear his glasses on occasion, the images he perceives may be a bit “blurry’ since, to quote him “The resolution is up to the mind”. Very true, we see with our mind, not our eyes, and our perceptions are constantly coloured by our moods and experiences in all ways.




 This artist works with great concentration and intensity, and is able to disregard the somewhat  less than ideal working conditions. His studio is in small garden shed, which is cramped and damp and harbours squatters in the person of mice. The occasional insect that sacrifices its life so as to be incorporated into one of Mr Stinson’s oeuvres, seeking immortality, is also part of the charm.
 But whatever I might say here would be hopelessly inadequate, therefore, I urge you to surf over to Mr Stinson’s own site. As he is as talented a wordsmith as a visual artist, you would be in for a delightful read:



http://www.stewartstinson.com


Stewart, who is remarkably unselfconscious and approachable in person – a trait that he seems to share with many of the coastal artists – mentions as some of his inspirations painters such as Emily Carr, Vincent van Gogh, E.J.Hughes, Jack Wise and many others.
Personally, I was struck by the similarity of Stewart’s style to that of the late Nicholas Roerich, especially to that of the latter’s “Himalayan" period.

What do you think?





Nicholas Roerich “The Path” and




Nicholas Roerich “The Call”

This similitude – and, when questioned, Stewart admits to having never heard of Roerich – may be due to the fact that both artists see their life’s purpose in promoting peace, enlightenment, personal freedom, justice. As Mr Stinson puts it, “to maintain the balance of the cosmos and become one with the universe. Or some such thing.”


If you are curious about the Roerich legacy, in both artistic and social terms, please check out this website dedicated to his work:

http://www.roerich.org/wwp.html


Stewart Stinson is actually, a very prolific artist and finds his inspiration in genres as varied as comic books, Salish art, “psychedelic folk art painting”, Surrealism et al. . The Crossing may be indicative of one particular style he favours, but is by no means limited to that. Here is a rendition in oil of a familiar skyline:



In conclusion, I have to say that I was enchanted, entertained and led into the mystical realms by this exhibit. The warmth, charm and humour of the creator were a much-welcome and unexpected benefit!


To go to the website of the Gibsons Public Art Gallery, please click here: www.gibsonspublicartgallery.ca/

“If a work of sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within”. - Henry Moore, 1958


 This spring, we have been honoured by the wonderful exhibition of the “sculptural murals” by the local artiste extraordinaire Patricia Leigh Forst.
 Her unique, highly original and technically-challenging murals and free-standing sculptures glow with warmth, make time itself stand still and draw the viewer into a dimension where the seemingly-commonplace becomes charged with power.


 Ms Forst sees as one of her primary goals to convey a great deal of information using the minimal possible amount of detail. Originally trained as a potter, she became inspired to parlay her talents into sculptural works whilst on a trip to England.
 A passionate and tireless traveller, who apart from the better known destinations such as Santorini or Egypt, has ranged to the less travelled locales such as Kyrgystan where she got to enjoy seeing some ancient murals.

 Her artistic influences are many: those of tribal African art, ancient Greek and Egyptian civilizations, but she is also (to some extent) following in the footsteps of Modernist giants such as Henry Moore and Barbara Hepworth. Living in England in 1987, she was deeply impressed by the monumentality of Henry Moore’s work, the curves, the soft-flowing lines. (A little aside: I remember an exhibit of Henry Moore’s that took place in the eighties at the Metropolitan Museum of Art in New York City, where his famous (or infamous) sheep drew a huge crowd of admirers some of whom had to be bodily restrained from caressing the sculptures.) Henry Moore does seem to have had his “feminine” side well developed, and the right-brained intuitive vision is certainly reflected in his work:

“My art is charged with energy and color, vibrant, magical, and thus enabling the soul to travel. I envision, I rely on the intuitive, the spiritual, the emotional. To tell stories through my art. I am a storyteller, a visualist. A conveyor of messages..” George Littlechild, Artist Statement


Every child is an artist. The problem is how to remain an artist once we grow up.
Pablo Picasso







I have been meaning to write this little report for quite a while now, but I must confess that anything I might say about it could never do it justice. It is difficult to convey the feelings invoked by the children’s art, but if you may indulge me, I’ll give it a try.

Upon entering the room - which is located between the main exhibition area of the GPAG and the Harbouview Room, for those who are habitues, the room where the goodies tables are set up during reception events - one can actually feel the vibrations of the drums – I am speaking for myself here but I will bet that this is not a unique experience. I feel humbled and empowered simultaneously, amazed, healed, inspired, entertained, educated, embraced and challenged to rise above my own limitations. Exactly what all art is intended to do.

This exhibit of the artwork created by the local students ranging from grades 4 to 7 – although it must be said that there are many old souls among them – has been facilitated (o, what an inadequate word!) by the Aboriginal education support teacher for the School District 46 Lisa Pugh.

The many varied creations have been inspired by the art of Cree artist George Littlechild, a channeler and storyteller of prodigious gifts, whose books served to fire the imaginations of the young artists, to inhabit their hearts and spirits for this transformative, synergistic magic to be transmuted here to this space.

The students were working under certain parameters, there were 11 criteria to be followed, in regards to styles, media utilised, and most importantly, the themes explored.
While there are different components and subjects – the children incorporate natural objects such as feathers and shells, and “manmade” materials like mirrors, plastic figurines, etc., many “found" bits and pieces. Hearts and stars and horseshoes, brilliant colours singing with vibrancy, the whole room is infused with power, it makes you want to dance unselfconsciously and in the moment, the way one dances during a powwow. (Hey, every day should be like that!) . It really does not matter very much what materials one may be inspired to use, the Spirit resides in everything. This reminded me of the story related in the book by Amber Wolfe titled “In the Shadow of the Shaman” in which the author worries about some of the materials she has been using to make her ritual tools, wondering if they are “proper”, only to be reassured by a First Nations shaman that the intent is what counts, not what you use, and he shows her a smudging fan he had made from an old shaving brush. (Unfortunately, it had been some twenty years since I last read this book and I no longer recall to which nation he belonged. No disrespect is intended.)

There are collages, paintings, three-dimensional scenes, all inspired by stories of the Cree people and by powwow lore. Horses and stars tend to particularly present, the former being intrinsic to the way of life of many Aboriginal cultures, curiously enough, although there have been no horses on this continent prior to the European invasion. The stars? Well, in the long reckoning, perhaps, that is the true home of us all... (For the uninitiated: in Aboriginal cultures, a Powwow is a gathering people of different nations to exchange wisdom, to dance and commune, sing and feast, make new friends and renew old acquintances, to honour all those who have passed on , including the four-legged and feathered and scaled ones who have contributed to the circle of life itself.)

I do not know how many – if any one – of these kids have been to a powwow in this earthwalk, but it is clear that they have been infected (in the positive sense of the word) by the very energy of such transmutational and empowering events.























So many wonderful pieces, but some made a particular impression: Horse and Spirit World, Respect, Dream Big, Let Your Spirit Fly, Sea to Sky, to name only a few

Actually, the very titles deserve a place of honour upon one’s fridge or whatever is the gathering place in your home: these are words to live by.

Lisa Pugh, whose acquaintance I have not been privileged to make, must be a shaman of a kind herself, to be able to bring out such creativity in her students, to the benefit of all, artists and viewers alike! This community is blessed with her presence indeed.

Many years ago, I took part in a Powwow which was at the Six Nations Reserve in Ontario, with representatives of First Nations from all over North America, even as far as New Mexico. (When I say “took part”, I do not mean that it was as a tourist or an idle thrill-seeker of some kind. Oriah Mountain Dreamer titled one of her books somewhat self-deprecatingly “Confessions of a Spiritual Thrillseeker", although she is far more than that.)
I went there being first thoroughly vetted by the elders of the Native Canadian Centre of Toronto.
At one point of the proceedings, one group of dancers had left the field and a solemn ceremony was going to take place after that. A little girl of about three was playing in the dust of the huge space, happily oblivious to her surroundings.
The respect that those of Aboriginal cultures tend to show to all their members, regardless of age or status, was beautifully illustrated: not one person moved, no one tried to call the child or to pick her up. The whole assembly - hundreds of people - waited patiently until the child felt that she was ready.

All My Relations!


(Please feel free to post comments at the below this entry, if moved to do so by Spirit!)

To go back to the webpage of the Gibsons Public Art Gallery, please click here:
www.gibsonspublicartgallery.ca/

Words and Image

“If we citizens do not support our artists, then we sacrifice our imagination on the altar of crude reality and we end up believing in nothing and having worthless dreams.” Yann Martel ‘The Life of Pi”

  Is a picture worth a thousand words? Perhaps…But is may also be said that words are invested with power to evoke and create images in mind’s eye. The synergy of the two transcends all of these clichés and becomes something truly magical.

  This spring, we have been blessed with the opportunity to view, enjoy and be moved by works of great diversity by an amazing variety of artists utilizing eclectic, at times surprising, media.

  Yet, one common theme emerged: that of self-expression. Of course, it is been often noted that the arts, in general, are all about discovering who we are, about having the courage to explore beneath the masks imposed upon us by the world. The artists – and I include healers, shamans, seekers, seers, ecologists, peaceful warriors in this designation – have always led the rest in looking for the hidden clues. They have been in the vanguard of this liberation movement. Much has been said lately about the “Planetary Liberation Movement”, the ripping away of the veils that this mission entails.

  The psychologist Gail Carr Feldman, Ph.D. writes in her book “From Crisis to Creativity”: “Painter Georgia O'Keeffe said, ‘The days you work are the best days.’ She was referring to her art, of course, which was her passion. In this New Year, let's begin to view all of our work as our art. In doing so, every activity in which we invest our passionate energy will become our personal creativity. I define creativity as "the art of growing self-expression." In every way that we express and idea, a thought, a plan, a feeling, we give someone - including ourselves - a gift.”

  The images and the ideas behind them range from mystical by Mudito Drope and Bodhi Drope, multimedia work by Tam Harrington, who dreams the python, as author Diane Stein might say:

 


Raku Mask and Wood creation of Agnete Newman:



 

the psychedelic spinning vortices of Betty Pehme all enchant and gratify:



Betty Pehme “Seize The Day” (do I detect Dali influences here?) and:



"Spam Remedy 101” also by Betty Pehme


This painting by Mudito Drope titled “Passions of Youth”
puts me in mind of turn of the twentieth century spiritualists,
or am I reading too much into it? Helena Blavatsky may well have posed for it, wherever she is…
 
 


Magnificently silly sculptures that stop the viewers in their tracks inspiring them to take inventory of their lives:  “Joy” by Susan Biden, clay earthenware.




Susan Gordon creates tapestries in which the powerful impact of the words “to have and to hold” is rendered in typewriter ribbon – wonderfully original and though-provoking which can be said of all the works presented, actually:

"Burden#1"  "Burden #2"
 
The arresting and somewhat cryptic – one would assume deliberately – mixed media oeuvres of Francine Desjardins, titled “Coin St Hubert” (Corner of St.Hubert, a unique depiction of that time-saturated street of the old Montreal) inspires us to “see” the hidden little nooks we might otherwise overlook in our mad rush through life:


 

Children, especially, are drawn to the elemental force contained within the “Dragon” by Ron Shorthouse and are awed by the words of “Fire” is speaks. (I love the use of what looks like bicycle chain that serves as the vertebrae of this magickal beast)




Kudos to all the artists who have participated! I have to apologise, it is be impossible to list all of them but I would be particularly amiss not to mention the digital works by Barbara Mustafa":



And in conclusion, in Ms. Mustafa’s words: “say NO to that voice”: “…the one with the blindfold…the voice that keeps you from doing the great things you are capable of.”
 

“Not until we are lost do we begin to understand ourselves.” Henry David Thoreau

Please feel free to leave a comment at the bottom of this entry.
if you would like to access the webpage of the Gibsons Public Art Gallery, click herewww.gibsonspublicartgallery.ca/

“It is the function of art to renew our perception. What we are familiar with we cease to see.” Anais Nin

“Art of all kinds is an interactive challenge. The person who makes the work and the person who comes to the work both have a job to do. – Jeanette Winterson, discussing her book “Art & Lies”


The first exhibition of 2010 opened on January the 15th and features the works of the local artist Todd Clark I have had the privilege of attending both the opening and the “meet the artist” question-and-answer session which took place the following week.

Mr Clark grew up in a rural setting, and found his main sources of inspiration in Nature. He works primarily in oils, on canvas or board and also likes to experiment with various found objects and materials such as bits of driftwood and telephone wire.
This particular exhibit features works from the recent past, from 2007 through 2009, but even so, one is able to track a certain progression in the styles. What may be termed “abstract landscapes” gradually become less based in consensual reality and more open to interpretation and that seems to pose a challenge to some of the gallery’s visitors:
Being a volunteer here, I have the opportunity to discuss the featured art with the public, and some of the viewers have stated – with pride in their voices – that they do not “understand” abstract art. They proudly declare that “anything after Gainsborough is not my cup of tea.” (In the similar manner that some people boast about being tone-deaf.) Most curious! Well, there is no accounting for taste, as all art is highly subjective and even Mr Clark himself notes that while he appreciates the works of Old Masters, he much prefers modern art. (No Goya for him!)
Abstract art is not a new phenomenon, it is something that is generally thought to have originated about one hundred years ago with Kandinsky and Malevich and artists such as Robert and Sonia Delaunay. In 1913, Guillaume Apollinaire defined it as “the art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...it is a pure art.”

This is not something that needs to be approached on an intellectual level. I suppose, some people need to have their “reality” spelled out for them, to be presented in an easily digestible form, packaged in a familiar container. It has been suggested that the fear of dealing with one’s own emotions, of what may be glimpsed of one’s own psyche, however briefly, is what stops quite a few members of this rather conformist and emotionally-repressed society from enjoying, or at least, partaking of what is “different”, “new”, “unexplored”. Still others are more willing to allow their deeply buried emotions to bubble up to the surface. Of course, it is in the nature of all art to act as a trigger, to evoke feelings and ghostly outlines of half-forgotten dreams, even to the point of opening wounds that need to be opened in order to be healed. As no less a giant as Michelangelo had stated, “a beautiful thing never gives so much pain as does failing to hear and see it. “ It would seem that whatever it is that we term “abstract art” has a particular tendency to take people out of their comfort zone, it is something that challenges them to come face-to-face with their own Inner Selves.
The visitors’ reactions range from “I would never have that in my house” to “I like the colours” to “magical” and “playful”.

While he mentions some of the artists whose styles have had an impact on his development, such as Marc Chagall and Sylvia Tait, Mr Clark does not seem to attach great intellectual burden to any of his creations, he enjoys the process itself too much to worry about how his art may be perceived. He does not envision the finished pieces but rather permits himself to be guided by his intuition, allowing a painting to appear as it will, recognising that art itself is a force of nature that will find its own channel and he is the channeller . The last would explain why Mr Clark does not have a problem when it comes to parting with his “babies”, with letting them out into the world to lead their own lives . This refreshingly relaxed attitude is quite surprising in the often ego-driven art world.
In addition to working in his new studio, Mr Clark also teaches art to children, and that is where he may have learned these wonderfully innocent and passionate ways.

However, no one creates in a vacuum and we all like to play with the notion that we can trace the evolution of others’ work. I mentioned to Mr Clark, who clearly does not suffer fools gladly, that I felt a subtle influence of Vincent van Gogh in the painting “Off the walls”,







He was not too impressed by the idea but brought up the latter’s “Sunflowers” as a possible point of reference. Actually, I was thinking of other paintings by Van Gogh,

such as “Glass with Roses” (1886) :




Or “Dance Hall in Arles” (1888)







The sombre yet glowing colour scheme is what reminded me.

Emily Carr’s name was also brought by several visitors to the gallery, and perhaps, there is something to that: Here is “Don’t be so quick” by Todd Clark







And “Haida Totems 5” by Emily Clark:





But let us not be too literal. As stated before, this is all about feelings that are invoked and stimulated, so it may be said that “Country French”, with its warm and sunny palette is almost edible, it gets the juices flowing:







The softly cubist “Off on Monday” may produce a very different sensation:






Or how about the crazily undulating “Lap Dance”, one can almost hear the music:






All in all, let us appreciate the fact we are both gratified and challenged by the works presented, and that is an honour indeed!

"A good artist lets his intuition lead him wherever it wants" Lao-Tzu

Please feel free to leave a comment at the bottom.

To access the webpage of the Gibsons Public Art Gallery, click here: www.gibsonspublicartgallery.ca/