Olga Campbell exhibition

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(Images copyright of the artist, used here with her permission)

WHISPERS ACROSS TIME, paintings, prints and sculpture by Olga Campbell
Opening reception on Thursday, April 21, 2005, from 7 to 9 p.m.
Gertrude and Zack Gallery, 950 West 41st Avenue, Vancouver
The exhibit runs until May 18, 2005.

Olga’s statement about her work:

“It started with a whisper – reminding me of things forgotten, things past – then it became deafening in its explosion of feelings.”

Olga Campbell’s mother lost her whole family in the Holocaust. She knew that everyone died in concentration camps, but could never find out when or where. She escaped the same fate only because she was arrested by the Russians at the Polish/Russian border in 1939 and taken to a russian prison camp, where she gave birth to a baby girl who only lived for a few days.

Two years ago, it became evident that the feelings caused by this tremendous loss, were transmitted from mother to daughter and had their origins in these events which took place over half a century ago.

Olga Campbell then embarked on a difficult and emotional journey into the past. Through the internet and Yad Vashem, she was able to get information about her family. She found articles and photographs, saw artwork and received letters from a person who had known members of the family. The bare facts, the bare bones which she had grown up with were fleshed out by this information and took on a new life. She felt surrounded by family, as if they had just been waiting to be heard. She then translated this journey into art, her medium of expression, also because most members of the family who perished were artists.

This exhibition deals with memories and losses. Many of the pieces in the show are fragmented, broken in appearance. Half there, half not. The presence of things, the absence of things. The presence of people, the absence of people. The materials used reflect this. Masks made of wax and straw show the ephemeral nature of life, broken, scarred- not whole, fragile, fragmented, but still there. Bronzes dealing with the difference between the inside and the outside. Rusted metal figures in groups against a backdrop of metal with negative spaces where the figures once were. An inherent connection between past, present and future. Life as a progression. The other works in the exhibit, ceramic sculptures, mixed media, photographs and text echo the same theme. But the artwork also portrays a sense of resurgance, a life spirit which emerges from the devestation of the past. This is a tribute to a family. Giving them back their identity and their dignity.

Olga Campbell has been doing art since 1993, when she graduated from Emily Carr School of Art and Design. She does sculpture, printmaking, mixed media and photography.

Olga Campbell is a member of the Art Institute, Sculpture at Capilano College**. I came to know her during her visits to the printmaking studio to do some digital prints to include in the body of work she has been preparing for her exhibition.

Added 18/05/2005: Please see my post about my visit to Olga’s exhibition

Update 2011: **now University, with updated link.

Artists in Our Midst

“Artists in Our Midst” is Vancouver’s West Side Annual Art Studio Tour. Sorry I’m late posting this, having missed the first weekend opens in Kitsilano.
This coming weekend April 15 – 17th Dunbar/Kerrisdale area artists have a preview exhibition and open their studios. West Point Grey artists do the same April 22 – 24th.

Please check the schedules, maps and the lists of participating artists at the Artists in Our Midst website. This annual event was initiated by artists Anne Adams and Pnina Granirer in 1993 with over 60-70 artists taking part. Merchants in the area also feature artworks in their windows, so it is a very popular community event.

You may recall my posts about Pnina’s recent exhibition and my visit to her studio.

Lesley Dill at Equinox

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Lesley Dill: I See Visions
Lithograph on Muslin, Silk Organza with Hand-Sewn Elements
28 x 20 in. 2004

New York artist Lesley Dill’s work is showing at the Equinox Gallery in Vancouver (ending March 31st). An artist friend and I eagerly went to see it a couple of days ago and were not disappointed. This is the first time I’ve seen her work, and wished I’d known it sooner since so much of it resonates with me. The gallery website shows her amazing pieces, so have a look.

Here’s a wonderful review by Robin Laurence in Straight, beginning with this:

Language, fibre, body, and spirit–all weave together in this exhibition of new and recent work by New York artist Lesley Dill. Deeply poetic in both impulse and content, Dill’s interdisciplinary art–which includes photography, sculpture, printmaking, and performance–also manages to invoke a number of theoretical concerns. These include the ways in which gender is socially constructed and the body is inscribed with language. Not that we’re overwhelmed by post-semiotic ideas as soon as we walk into the gallery; the first impression here is one of sensuous beauty.

It is all very compelling work. Her delicately layered prints on muslin and silk organza, such as ‘I See Visions’ (above), ‘Listen’ and ‘Blue Voice’ are very inspiring and timely for me while working on my own series of layered prints.

Dill has done a lot of her prints at Landfall Press:
Lesley’s Dill’s images and constructions explore the nature of the body and its clothing. In particular, her work uses metaphoric imagery to explore the role of language in cloaking or revealing the human soul.

And at Graphicstudio:
… Lesley Dill is on the forefront of the trend in contemporary art of using visuals with language, lending an edge to their fusion by peeling away stereotypes to create a fresh and unique vision. Widely acclaimed for her sculptural, print and installation works which draw upon the poetry of another American woman artist, Emily Dickinson, Dill combines the word with the image, the fragile with the indestructible, the handmade with the computer-generated. A meeting of art and poetry, her works are rich in texture and temporal associations, evoking elusive, layered meanings.

More images can be seen at Greg Kucera Gallery in Seattle and at artnet.

Tomoyo Ihaya at SNAP

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This email recently came from Tomoyo, who just finished an exhibition in Vancouver:

“hello, everyone. Spring in vancouver and semi-spring in Edmonton..
I came to edmonton hopefully to see beavers, buffalos and water..
Please come by to see the show if you are in edmonton. tomoyo”

“Searching for Agua” is on at the SNAP Gallery in Edmonton, Alberta March 24th – April 30th, 2005, with the opening reception on Thursday, March 24th 7 – 9 pm.

Japanese-Canadian artist Tomoyo Ihaya’s work centres on the theme of water. Her exhibition Searching for Agua delves into the expressions of the water/life duality – literally, symbolically and spiritually throughout the world. “Recently, I spent two months in Mexico. In such a culturally dense country, one of the most memorable things in every day life is a drinking water vendor coming every day screaming “Agua” every day, the word has become one of my favorite vocabularies to provoke my visual imagination and contemplation” – from Snap’s web-site.

SNAP is a gallery and printmaking studio run by the Society of North Alberta Print-Artists, which I’ve mentioned before in these pages. You may be interested in viewing the excellent website, especially their new Virtual Gallery, featuring prints by some of Canada’s foremost printmakers.

Finnish folklore inspires

A news item in VietNam News, via News Room Finland** caught my eye – “Finnish oral traditions inspire painting exhibition in Ha Noi” (links are mine):

“Two female artists from Viet Nam and Hungary are displaying their interpretations of Finnish folklore in an ongoing exhibition called Kantelatar in Ha Noi. The original Kantelatar* contains more than 600 lyrics and ballads and is the companion work to the Finnish national epic, the Kalevala. Both works were compiled by scholar-physician Elias L&#246nnrot from poetry passed on by word of mouth over many centuries. The Kantelatar expresses the emotions of Finnish people in daily life and festivals.

The Juminko Foundation of Finland invited two foreign artists to illustrate the Kantelatar with paintings, and some pieces from the work were translated into Hungarian and Vietnamese. […] Sponsored by the EU, the Finnish government and the embassies of Hungary and Viet Nam, the exhibition was held in Budapest before it came to Ha Noi.”

Now, the Hungarians are very distant cousins of the Finns, but the Vietnamese connection is unusual and most intriguing here.

If you’re interested, Virtual Finland** has lots more links about the Kalevala, which inspired many artists and composers.

**Virtual Finland no longer exists, sadly

Pnina Granirer’s Synchronicity

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Installation photo of a section of Pnina Granirer’s exhibition “Synchronicity”, at Sidney and Gertrude Zack Gallery

For some time now I have been working on several larger works incorporating a layer of inket-printed clear mylar over prints on paper. I’ve been challenged over issues with fastening these layers together, and how to hang them freely without frames. Some of my Nexus/Blue prints were part of the early experiments.

Then I heard about our well-known Romanian-Canadian Pnina Granirer’s new exhibition where she uses life size drawings on Mylar, and hangs them freely from the gallery ceiling, along with mixed media works on the walls. So today, two artist-friends and I went to see her exhibition Synchronicity at Sidney and Gertrude Zack Gallery at the Jewish Community Centre, 950 West 41st Avenue in Vancouver, 604-257-5111. The exhibit’s last day is Wednesday, March 9, 2005.

This partial quote from the exhibition statement:

These experimental works are based on photographs taken during Ballet BC and Kokoro Dance rehearsals. Granirer’s mixed media paintings are textured, earthy works, which capture the movement of the dancers. Her startling life size drawings on clear Mylar are quite the opposite. They are installed in an innovative and engaging manner. Instead of hanging in a frame from the wall, the drawings are suspended from the ceiling, hovering, shimmering and moving in space; the lines defining the figures float with no visible support, within the open space of the gallery. The simplicity of the drawings and the fragility of the material allow the figures to move with the air currents as if they were alive. The dancing figures float in space unencumbered and free.

In this exhibition Granirer explores a new realm, taking art to the next level. The concept of live dancers interacting with static images, developed during an exhibition she had at the Yukon Arts Centre. There she collaborated with dancer/choreographer Gail Lotenberg who created a 15 minute dance sequence entering and exiting Granirer’s life-size drawings. “The dancer becomes one with the art.” Granirer says, “When the dancer entered the Mylars, there was a gasp from the audience. It was so dramatic and so unexpected.” It is really exciting to experience the interaction between a live body and an imaginary one, drawn by the artist. The visual works are a contained world by themselves. The addition of the dance transforms them into a new and different experience.

Some of her wall pieces incorporate a layer of painted or drawn clear acetate. There are several plexiglas boxed pieces containing flat and curved plexiglas each with her gestural textured paintings and drawings in layers. It excites me to see how she utilizes layering in so many ways, something that I have been working with. We were sorry we missed the dance performances but a video shows some of the dances, along with interviews of the artist and critics.

Please browse through Pnina Granirer’s extensive website. She has had a long and successful career as an artist.

So how apt and inspiring is this exhibition title “Synchronicity” for me at this time?!

Duet: Taiga Chiba & Eunjin Kim

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DUET, an exhibition of collaborative prints by Taiga Chiba and Eunjin Kim will be presented at Dundarave Print Workshop March 10 to April 3, 2005. The opening is from 5:00 pm to 8:30 pm on March 10th. If you are close by, the artists invite you to please drop in.

Dundarave Print Workshop is a co-operative artist’s studio with a gallery, found at 1640 Johnston Street on Granville Island, Vancouver. Gallery hours are 12:00 pm to 6:00 pm on Fridays, Saturdays, and Sundays or by appointment 604-689-1650 with the artists. Dundarave’s website includes some member pages, including Taiga’s.

My good friend Taiga is certainly a very hard-working and busy artist. He’s appeared in these pages twice previously, when I wrote about his exhibition at Art Beatus last December, and about his talk about his teaching at Baker Lake.

Granville Island was also the subject of a post here last summer and in late fall.

Janet Strayer

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Perishable Goods

Janet Strayer, a friend and past member of the Art Institute, Printmaking at Capilano College (later University) has a large solo exhibition of her paintings, etchings, and mixed media works on display at the Enigma Restaurant in Vancouver during March-April (and possibly extending until June 15). I was very sorry to miss her opening that she so delightfully called “an art-warming event”, held this past Tuesday evening while we were traveling home from our little holiday.

Janet has kindly allowed me to post a few images of some of the work in her show. (Copyright is hers) Please visit her brand-new website to view more.

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Grief & Enigma

She says, My artwork has in the past accompanied my career as a university professor and psychology researcher, writer and consultant — somewhat in the way an incorrigibly curious, energetic, and adventuresome younger child accompanies a grown-up. Now, my artwork and explorations into art have themselves become a vital sustaining force that seeks to be known on its own terms. My workplace, Insights Studio on Saturna Island, is a magical place for inspiration and dedication to a process of artmaking that integrates imagination and observed realities. My artwork is both introspective and expansive. It explores the strange and human, adores color, and plays with form, line, memory and visual poetics. I hope that it also communicates the wonder and range of feeling that comes with being human and alive in a living world.

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Checkered Frame

To me, much of Janet’s work has captured the magic, the mystery and that little quiver of something a bit scary that exists in the world of fairy tales. I asked her about this and she replied:

For some of my work, I deliberately roam into “the deepest, darkest, part of the forest” (as is a major motif in fairy tales) and I usually trust in something (strange little creatures: things not being what they seem) to see me safely through. In this sense, much of my work has a fairy-tale/mythic motif. But in only some of the work (Hansel & Gretel, for example) do I actually “think” of fairy-tales in any “whimsical” way. I would hope that the body of the work suggests more than fairytale or mythic themes — I am very interested in psychology and psychological development, as you know, and in being human and what that individually means. But, as you noted, this is certainly one stream that runs through it.

The Enigma Restaurant is at 4397 10th Avenue at Trimble, Vancouver. Open from 11am to 1am. Janet says this is a very cordial restaurant and bar, that serves both good cuisine and drinks at moderate prices, and it is hosted in a very personal manner by a lovely family from South Africa.

Update: Went to see it on March 11th – looking good!

Douglas Curran and Nyau

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Douglas Curran, Ndapita ku Maliro (Nkhuku Mutsekele)
I’m going to the Funeral, Lock up the Chicken

(scanned from invitation)

Another very interesting and very worthwhile exhibition we went to see on Sunday afternoon (yesterday) after the visit to the Burnaby Art Gallery, was at Presentation House Gallery in North Vancouver. It is the largest non-profit photographic gallery in Western Canada, widely recognized for its exhibitions of photography and media art, emphasizing contemporary Canadian work within a context of historical and international art.

I’m not usually a huge fan of photography and film exhibitions, but my personal interest in anthropology and “primitive” cultures was piqued so I really wanted to see this one:

DOUGLAS CURRAN The Elephant Has Four Hearts: Nyau Masks and Ritual

Vancouver based photographer Douglas Curran first met members of the Chewa people while working on a film in Zimbabwe in 1992. The Chewa he met were migrant workers from Malawi employed on plantations and in mines. Over a period of several years he gradually became integrated into this community in Malawi, photographing and filming their extraordinary rituals associated with a belief system known as Nyau. The Chewa rituals and their masks are part of a complex and spectacular set of beliefs that Curran has been encouraged by the Chewa to document. Curran, no longer an outsider to this culture, has created a stunning pictorial record that invites dialogue about recording the lives of others, and forces comparisons with contemporary performance art. (from Gallery statement, curated by Bill Jeffries)

This stunning exhibition consists of 60 large colour photographs, about 10 masks and a video of village perfomances using the masks. To me, it felt like walking into the pages of National Geographic magazine or its films. They would be at home at the Museum of Anthropology at UBC as a vivid documentary of a threatened culture.

I suggest a browse through Douglas Curran’s excellent website to see some of the photos, read the catalogue and a review about the Nyau, plus his many other projects. Also read ‘Nyau Photos Challenge Cultural Appropriation’, a review by art critic Robin Laurence in the Straight.

The exhibition continues to February 27th, at Presentation House Gallery, 333 Chesterfield Avenue, North Vancouver, BC

Prints from St. Michael’s Printshop

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Today we finally made it out to see the touring exhibition ‘The Power of Place – 30 Years of Printmaking in Newfoundland’ at the Burnaby Art Gallery.

Some weeks ago I wrote about this in some detail – if you missed it, please read that post for the background information.

This collection of prints from St. Michael’s Printshop appeared very strong and well presented, with each artist represented by several pieces to reveal their unique visions and a variety of techniques, mostly lithographs, etchings, and relief. Each piece had something to say to me, but some of my favourites, in no particular order, were Jerry Evans’ lithograph ‘Guide and Protector of All the Children’, Anne Meredith Barry’s accordion-fold book ‘Shallow Bay Beach Walk’, Helen Gregory’s exquisite little mezzotint ‘Plundered’, Sylvia Benzsa’s collagraph ‘Rock Facing’, Sharon Puddester’s drypoints, William Ritchie’s beautifully drawn lithographs of birds and fish with hidden human features, Heidi Oberheide’s mysterious ‘Self Portrait’, and, most associated with Newfoundland seem to be Don Wright’s images of fishermens’ lives.

(To see some examples of the artists’ works online, though not always the same as in this exhibition, check out the links in my earlier article.)

I noticed an absence of “newer” computer-based processes and outsized works, which probably reflected the small space at St. Michael’s. Later, skimming through the exhibition catalogue written by curator Patricia Grattan, I read about this printshop’s dedicated focus on printmaking, but also the challenges it now faces: at a time when many printmakers elsewhere have abandoned traditional print media and editioning in favour of computer-based processes and the “one-off” incorporation of print elements into multi-media works […]SMP’s challenge will be to find its “niche market”.[…] The Printshop has continued to nourish the work and development of hundreds of artists from Canada and other countires/ But its most significant contributions have been to the development of artists in Newfoundland and to awareness of Newfoundland art beyond provincial boundaries.

The exhibition continues until Feb. 27th, don’t miss it! It will be next in Halifax in September and in Winnipeg spring 2006.

Additional reading: Article in Burnaby Now

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Going to the Burnaby Art Gallery is a treat, as I love this beautiful old building, full of character and history, and set amongst lovely gardens of almost ready to bloom rhododendrons and spring bulbs. Today’s warm sunshine sparkling over Deer Lake beckoned us down to the lakeshore trail for a walk and to check out the local waterfowl, including the fat and noisy Canada geese.