An oil painting by Germany-based artist Gennady Karabinskiy.
An ink drawing by Germany-based artist Gennady Karabinskiy.
Vancouver’s Furniture & Art Concierge, owned by Elliot Nitkin, has received the sole right to bring the work of Germany-based artist Gennady Karabinskiy to Canada.
Karabinskiy, a Russian Jew, uses diverse techniques to express his artistic ideas: oil on canvas painting, tempera, pastel, ink on paper and lithography. In his work, Karabinskiy follows the artistic tradition of Eastern European Jewry, carrying on the work of Jewish painters such as Marc Chagall, Amedeo Modigliani and Anatoli Kaplan.
Since 1989, he has participated in more than 200 solo and group exhibitions, including ones in Norway, Germany, Holland and the United States, and he has been featured in numerous newspaper and magazine articles. His works are exhibited in museums in many countries, and are part of private collections around the world.
Suzy Birstein amid her work, some of which visitors to her studio will see during the East Side Culture Crawl. (photo by Britt Kwasney)
“I am most looking forward to healthily connecting with fellow artists and art lovers in real time, real space. Art is always more powerful in person,” artist Suzy Birstein told the Jewish Independent about the East Side Culture Crawl Visual Arts, Design & Craft Festival, which returns to its traditional format Nov. 17-20. Some 400+ artists will open their studios to the public.
“The sense of community, commitment, excitement, inspiration, appreciation – all that brought me to Parker Street [Studios] and East Side Culture Crawl originally is happening again,” she said. “It feels like a renaissance.”
Photographer Esther Rausenberg, artistic and executive director of the East Side Culture Crawl. (photo by Adam P.W. Smith)
“After the two-year pandemic rollercoaster ride, I am thrilled we are back to a ‘new normal,’” said Esther Rausenberg, artistic and executive director of the Crawl, as well as a participating artist. “I do say ‘new normal,’ as we don’t have a crystal ball and I can’t really speculate how this year’s Crawl will play out. Personally, I am excited to get out and see all of the new and amazing art that has been created and to catch up with the artists. It’s also a real pleasure for me to meet members of the public as they share their enthusiasm for the event, the art and the connections they will be making with the artists.”
Birstein (clay, painting, sculpture) and Rausenberg (photography, Georgia Art Studios) are only two of many Jewish community members who will open their creative space to the public over the four days of the festival, which also features gallery displays, and artist demonstrations and talks. Other community members include, from Parker Street Studios, Shevy Levy (painting), Olga Campbell (clay, mixed media, new media), Mia Weinberg (painting) and penny eisenberg (drawing, painting); from Eastside Atelier, Lauren Morris (mixed media, painting), Ideet Sharon (assemblage, mixed media, painting), Stacy Lederman (mixed media, painting) and Karly Leipsic (mixed media); and, from the Arc, Lynna Goldhar Smith (installation, painting). Overall, festival-goers can explore about 68 buildings and studios in the Eastside Arts District, the area bounded by Columbia Street, 1st Avenue, Victoria Drive and the waterfront.
“This year’s event has a distinctly celebratory tone,” said Levy. “It is a reunion for Vancouver’s established art community, a chance to reconnect, to have meaningful discussions around art, not just with artists, students and educators, but with those who display art, like galleries and art management, and everyone who is excited to work together again.”
During the pandemic restrictions, painter Shevy Levy started a new direction with her abstract work. (photo from Chutzpah!)
Thinking of the last couple of years, she noted, “What was fascinating about the immediate impact of COVID-19 was the sudden loss of collective connection – both human (face-to-face) and the collective understanding of what the future might bring…. When we were forced to isolate, I appreciated the introduction of art to the digital and virtual world, and how it helped the art world, in many aspects, to find new ways to connect with society. However, now I understand how much I, like so many of my colleagues, urgently need constant interactions with the community – 2022 Crawl is here to fill some gaps.”
Goldhar Smith – a multi-disciplinary artist who has spent more than 30 years in theatre performance with painting very much in the background – is excited about the chance to show her visual art to a lot of different people. “I especially love the opportunity to see their responses to the work and engage in lively conversation when it’s possible,” she said.
Lynna Goldhar Smith (photo from Chutzpah!)
Interested in integrating her visual art practice with her performance practice, Goldhar Smith said, “I have been building installations in my studio to that end and so, among my paintings and prints, visitors will see the beginnings of more conceptual ideas in some of the physical objects and paper sculptures in the studio.”
Whether abstract or figurative, Goldhar Smith seeks to express the intangible qualities of human experience in her work. “If I paint a landscape, it is as much an emotional or psychological landscape as a place,” she said. “Yet, at the same time, if I paint an urban crow or a heron, it is more an expression of honouring the urban wildlife, and reminding myself that I am in their domain. I hope that makes sense. Whatever I paint, I am like an improvisational actor, responding to the moment, with one brushstroke informing the next. The meaning emerges after the fact. It is not so much I make my art, as my art makes me.”
For Goldhar Smith, the pandemic was a dramatic reminder “that we need to behave more responsibly, more cohesively, with more compassion and care for each other – with more understanding of our connection to each other – and to view ourselves as part of nature and part of one planet all together. Yet, we are so divided. If there was ever a time for artists to get focused, this would be it.
“Gloria” by Lynna Goldhar Smith (image from Chutzpah!)
“Artists, and art, have the privilege and responsibility of their voices,” she continued. “We need to use our voices to contribute to the global change that is necessary. We need to speak up with courage and make brave art.
“We need to be endowed with the respect that what we do is of great importance and we need to be valued, supported and encouraged because artists bring meaning and perspective and also disruption and confrontation with the status quo. We need to see how our art fits, not so much into the art marketplace, but as a central driver of change that can address the pressing needs of our time.”
Levy expressed a similar view.
“So many artists, myself included, produce artwork with an outcome in mind, such as an exhibition or career step,” said Levy. “The challenges of the past few years forced me to take the time to reflect on my own art practice, taking it to the next level by exploring new avenues and fresh approaches. I had to remove and free myself from that outcome. I was able to experiment and create work that connects me better to the meaning of being a better human and better artist, as opposed to a ‘professional artist’ operating within the structures of a commercial art world.”
Birstein also used the pandemic period for self-reflection. “The enforced isolation of the pandemic,” she said, “gave me the gift of time: time to create, experiment, reflect, all day, every day. This is a first in my art practice and I was very productive.”
Birstein created two bodies of work for two solo exhibits in 2021 and 2022.
“Tsipora: A Place to Land was exhibited at the Zack Gallery,” she said. “Tsipora is my Hebrew name, meaning Bird. Pre-COVID, the bird symbolized a freedom of spirit while taking flight. With COVID, it was a time to nest, to find a place to land.
“Frida: When I Have Wings to Fly was exhibited at POMOArts. Frida is a continuation of my art historical portraits, Ladies-Not-Waiting, inspired by Velasquez’ masterpiece ‘Las Meninas.’ This series speaks to Frida Kahlo as a symbol of feminine strength and empowerment: a person who transcended tragedy and transformed it into beauty. My sculptures and paintings invite the viewer to converse in intertwined stories of myself, my mother, Frida and other historic figures that embody resourcefulness, resilience and beauty.
“Materially, both bodies of work involved much experimentation with structural techniques, surfacing with fired and cold materials, addition of repurposed objects.”
For Levy, the last couple of years allowed her to start a new direction with her abstract work. “Slowly, I developed large-scale canvases that were marked by bold and expressive brushstrokes,” she said. “I am excited to share with the public my new collection, A Portrait of a Flower. My work demonstrates the flowers as a source of lines, shapes, negative space, gesture, colour and value, or another source of abstraction.”
The pandemic period also gave Levy the chance to explore more remote art communities. “Pre-COVID,” she said, “I used to share and exhibit my art within my immediate community. In the last two-plus years, I had more time to develop my social media presence and expertise. As an outcome, 2021 was the best year ever of showing and selling my work.”
Birstein also pointed to the technological silver lining of COVID. “With the necessity of communicating virtually while globally isolated,” she said, “I see the world of art opening in terms of compassion, imagination, inclusion, respect – all of this so apparent at this year’s Venice Bienale, from which I have just returned.”
In addition to the open studios Nov. 17-20, the East Side Culture Crawl features a multi-venue, salon-style curated exhibition called NEXT, which “explores the after-effects of living through a pandemic as we long for and ponder about what’s next.” There are also several other events. For more information, visit culturecrawl.ca.
Linda Dayan Frimer speaks about her new book, Luminous, at the Waldman Library on Nov. 27. (photo from Linda Dayan Frimer)
Linda Dayan Frimer’s new coffee table book, Luminous: An Artist’s Story as a Guide to Radical Creativity, takes the reader from Frimer’s early years in rural British Columbia through to the present, mixing her own story with encouraging the reader to jump-start their inner artist. Along the way, the multifaceted memoir also incorporates art history, spirituality and Judaism.
For Frimer, who was raised in the Cariboo District town of Wells, where hers was the only Jewish family in the community, making art is something she has done since early childhood.
“Painting was the same as experiencing wonder and awe within creation, where everything – the trees, their trunks and the big starry sky – led to a sense of a creation unified through colour. Just as it was for Chagall, colour from early childhood was love for me,” Frimer told the Independent in a recent interview.
As she grew and learned more of her own cultural suffering, and empathized with the suffering of the First Nations peoples in the Cariboo region, she longed to express this love for creation by unifying and healing in her own way, however she could.
“Art-making was my remarkable tool and the colourful, light-filled forests surrounding my home was my first inspiration,” she said. “I then learned the power of stories and how to tell them visually using photographs. This led to sharing reverence with other cultural groups, particularly in a group show called Kaleidoscope, where I met Cree artist George Littlechild. And our work on sharing cultural reverence through art – and our great and soulful friendship – began.”
A later example of the power of stories occurred when child Holocaust survivor Renia Perel showed Frimer a letter that was written 50 years after the death of Perel’s mother. Frimer created visual tribute in which Perel was able to write the letter into the artwork.
Exploring book’s subtitle
According to Frimer, radical creativity is an intense action that has the potential to occur each time we bring something new into creation. “It impacts upon the fundamental way we see and experience the world at a particular time, which can lead to each of us to having an inward moral experience. To be radically creative is to not only express what is most deeply felt but to hold an intense connection and longing to heal, and to unify this creation and ourselves within it,” she said.
“This calls upon and leads each of us to think deeply and imagine more. Bold and courageous radical creativity is ours each time our heightened emotional selves seeks a creative means to both respond to and enlighten the darkness of uncertain political and societal times.”
Citing various modern artists, Frimer noted that Picasso painted “Guernica” in only black, grey and white in response and protest to the impact and suffering caused by the Spanish Civil War on the Basque town of Guernica. American artist Adolph Gottlieb released the creative potential of the unconscious mind by painting the opposite polarities in existence as dots on a spectrum, where, with only one change, one dot could become the other, she said. And Czech painter Alphonse Mucha wrote that the purpose of art is never to destroy but always to create, to construct bridges.
In an era fraught with loss of species and forests through global warming, the war in Ukraine and other conflicts, economic suffering, the pandemic, among other issues, Frimer said, “We, like the aforementioned spiritual visionaries, greatly need to be people of true feeling with the creative purpose of constructing bridges.”
Radical creativity driven by one’s inner core self, she said, takes colours and forms and, often intuitively, paints an open emotional response to what urgently will need expression in our own time.
“To be radically creative is to be amazed by creation,” she said. “I paint from my heart all that I feel and all that comes through me as my receptive and creative art becomes more abstract. I am open to the source of this inspiration and grateful.”
Source of inspiration
Throughout her book, Frimer delves into the history and significance of colour. She includes dozens of exercises for aspiring artists of all levels, and highlights the role of creativity as a positive force between humanity and nature.
In Frimer’s words, “All creativity begins with a dot, in our imagination and on paper. In that movement of the first spark, everything and everyone is equal, and all of us equally creative.”
She hopes the reader will “take a journey to their own essence, their inner child who was created without memory and was free from fear of appearances and outside judgment – and also to look and to see more deeply and to be more aware of the energy of the colours in their midst daily. And to use these colours in their own expression of radical creativity.”
Colours are symbols and tools that can offer personal and universal meaning and lead to deepening understanding and caretaking of both nature and culture, she said.
“I’m hoping the art history shared and the stories of great artists, who, as seers in their time were radically creative, can enlighten and inspire individual pathways ahead,” she said.
Luminous is available through Chapters, Amazon, area bookstores and the Jewish Community Centre of Greater Vancouver. Frimer will speak at the Waldman Library on Nov. 27, at 3 p.m.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
Laurie Wohl’s “unweavings” are currently on display at the Zack Gallery, until Nov. 8. The exhibit, Journeys, features two of the New York artist’s collections: the Shabbat Project and the Meditation Project.
“By unweaving the fabric, I make manifest what is hidden within the material – liberating the threads to create shape, then ‘reweaving’ through colour, texture and text,” says Wohl in her artist’s statement.
“My unweavings process came out of my concern with narrative and storytelling,” she told the Independent. “I began as a painter on stretched canvas over 30 years ago, but I came to feel that painting on a flat, rigid surface felt static – distancing me from my materials and my stories. So, I began experimenting, cautiously making slits into the canvas, then unweaving, thread by thread – engaging with the material, exploring it. My work became completely ‘unstrung’ by 1989.
“Unweaving became a meditative process that allows me to feel my way into the material at the same time that I am feeling my way into the spiritual texts that have caught my attention,” she said. “Liberating the threads – creating different forms physically – has given specific resonance to the biblical, spiritual and poetic texts that fascinate me. Both the words within each piece and the unwoven form suggesting these words serve as a visual commentary, a visual midrash. This process of unweaving, then reweaving with text, paint, texture and beads, becomes a modern interpretation of the narrative and ritual function of textiles.”
Laurie Wohl’s textile art is on exhibit at the Zack Gallery until Nov. 8. (photo from Laurie Wohl)
Wohl’s maternal grandfather was an Orthodox rabbi – “I was very close to him, going to Shabbat morning services with him, sitting with him in the intense quiet of a Saturday afternoon twilight, at the waning of Shabbat,” she said.
“I was raised in the questioning tradition of Reform Judaism and I have read widely in the faith traditions of Christian and Eastern religions,” she continued. “My work has grown out of my own search for meaning – what is important to me as an artist in our complex world – and from my exploration of a medium that’s congenial to this meaning. The events of our time and my own life experiences have captured my imagination, and led me to be concerned with possibilities for reconciliation, both political and religious – in post-apartheid South Africa, in Christian-Jewish relations and, after Sept. 11, 2001, in possibilities for interfaith conversations among Jews, Christians and Muslims.”
Wohl uses a heavy cotton canvas for her works. She describes her creative process on her website: “I first release either the warp or weft threads to create the desired shape. Various textures may be collaged onto the surface, such as fibrous papers, sand and pumice. My images and calligraphy are applied with modeling paste. I then apply acrylic paints to the surface, and a final thin layer of gold wash. Where gauze is used, the fabric is dipped in diluted paint, then hand-painted and embellished with fibrous papers. In the last part of the process, beads – prayers and marking points – are affixed with acrylic gel.”
Wohl’s textiles are held in numerous public and private collections, including the Museum of Arts and Design, and some of her pieces have been on long-term loan to U.S. embassies in several countries. Her works are recognized by the American Institute of Architects’ Interfaith Forum on Religion, Art and Architecture, and by the Surface Design Association, and she has exhibited in widely differing venues, from Jewish community centre galleries to university galleries to galleries in theological seminaries.
“One of the exhibits in a Christian theological seminary led to a feature on my work in a magazine, Christianity and the Arts, which led to my work being exhibited in a major church in Chicago – Fourth Presbyterian Church,” she said. “This led to a commissioning by the church of 12 pieces for their sanctuary. And that led to another commission in New York City by Madison Avenue Presbyterian Church.
“The pieces I made for these sanctuaries are my responses to the particular interfaith work of those communities and their Old Testament roots. The Psalms Project for Fourth Presbyterian’s main sanctuary consists of 12 large pieces…. The church asked me to use Hebrew as well as English calligraphy to underscore the congregation’s immersion in its Old Testament roots, and the psalmic motif emphasizes the Christian-Jewish dialogue to which that church is committed. The project for Madison Avenue Presbyterian Church uses texts from both Old and New Testaments, and Hebrew, English and Greek calligraphy.
“Between 2001 and 2010, as I was working on projects exploring the relationship of Christianity and Judaism, the necessity of expanding my work into the realm of Islam was percolating beneath the surface,” she said. “I had just moved to New York City when the events of Sept. 11, 2001, occurred. Experiencing the trauma and aftermath, and especially the demonizing of many Muslims, I began to think about how I, as an artist, could contribute to a better understanding among Jews, Christians and Muslims – to suggest a way that art can be used to mediate at the intersection of faith and politics. After extensive reading in medieval and contemporary spiritual texts and poetry in 2009, I began my 18-piece project – Birds of Longing: Exile and Memory – in which I explore the relationships among the three Abrahamic religions, using text, texture, colour and form. I relate spiritual and poetic texts from the Convivencia (the Spanish medieval period) to contemporary Middle Eastern poetry, particularly Israeli, Palestinian and Syrian. The pieces explore common themes of spiritual love, exile, nostalgia for Andalusia, poetry referencing Old and New Testament texts and the Qu’ran, and poetry speaking of mistrust of enemies, yearning for reconciliation.”
Wohl began the Shabbat Project after Birds of Longing, which had been an intense process. “I was somewhat exhausted spiritually – there seemed to be no end in sight to the fighting and misunderstanding in the Middle East, and xenophobia was heating up against immigrants and refugees coming to our borders,” she said. “I felt a need for spiritual renewal and turned to our tradition. The Kabbalat Shabbat service at my own synagogue – Stephen Wise Free Synagogue [SWFS] in New York City – is a wonderful blend of reflective and joyous music. Through wordless music – the niggunim – and through prayerful words set to music, we are invited to enter into the spiritual, the transcendent, both individually and in community.
“Music has long been an important part of my art practice. The pieces in the Shabbat Project embody prayers and psalms of the Kabbalat Shabbat and Shabbat morning services, both in terms of the texts inscribed and the form of each piece, which evokes – hopefully – the spiritual texts. I was fortunate to collaborate with Cantor Dan Singer at SWFS for a soundscape that is integral to and accompanies the project.”
Wohl shared the meaning behind a few of the works from the Shabbat Project. “The piece ‘Kabbalat Shabbat’ is a circular piece suspended from the ceiling,” she explained. “With this form, and using semi-transparent materials, I try to evoke the mystery and beauty of the Shabbat bridge. There are references to many prayers and melodies embedded in the piece: Y’did Nefesh, Ahavat Olam, V’al Kulam, L’chu N’ran’na.”
“Sanctuary: Mishkan” by Laurie Wohl, who explained: “The partially unwoven centre alludes to the bima and altar, and the piece includes words from Psalm 19, Yih’yu L’ratzon: ‘May the words of my mouth and the meditations of my heart be acceptable to You….’”
Another example she gave was “Hashkiveinu: Evening Prayer,” which, she said, “suggests a tallit or prayer shawl and embodies words from an ancient prayer. ‘Cause us to lie down in peace and raise us up, our Sovereign, to life renewed’: ‘Hashkiveinu, Adonai Eloheinu, l’shalom. V’haamideinu shomreinu l’chayim.’
“‘Romemu’ also echoes the form of a tallit or prayer shawl, and incorporates the praise text from Psalm 99:9: ‘Let us exalt Adonai our God / and worship at His holy hill / for holy is Adonai, let us exalt.’ (‘Romemu Adonai Eloheinu / V’hishtachavu l’har kodsho / Ki kadosh Adonai Eloheinu, romemu.’)”
In total, 12 pieces comprise the Shabbat Project and the Meditation Project encompasses 11 pieces.
“For many years, the process of unweaving and working with spiritual texts has been a form of meditation for me,” said Wohl of the latter project. “Living in New York City at the beginning of the COVID pandemic, the incomprehensible numbers of those dying daily caused me to search for a way to find solace in a world turned upside down. Rabbi Angela Buchdahl, the senior rabbi at Central Synagogue in Manhattan, started a daily meditation practice on Zoom just then. I found comfort in her teachings and in the communal aspect of the meditation. Rabbi Buchdahl has continued the communal meditation once a week, and I have continued my meditation practice. The pieces in the Meditation Project draw on the teachings from her sessions and my responses to them. My hope is that the thoughts I held as I created the work will project a sense of mindfulness and serenity that viewers can carry with them.”
Merle Linde, working out of Malka’s Studio in Steveston Village, chose four symbols of Rosh Hashanah for her painting.
The shofar: the mournful cry, sounded 100 times during the traditional Rosh Hashanah service, evokes the freedom we gained when we returned to the Holy Land.
The pomegranate: a symbol of righteousness, knowledge and wisdom because it is said to have 613 seeds (arils), each representing one of the 613 mitzvot (commandments) of the Torah.
The apples: slices dipped into honey are eaten to symbolize the desire for a sweet new year.
The honey: given to us by the bees, who can inflict pain with their sting and yet produce delicious honey. Linde would suggest that we eat only “sustainable” honey (the food of the bees) so that the bees can survive and continue to pollinate the pomegranate and apple trees.
L’shanah tovah u’metukah! Wishes for a good and sweet new year.
Megs Gatus’s solo exhibit, Leaves in Space, runs until Sept. 22 at the Zack Gallery. (photo from Megs Gatus)
Megs Gatus – whose solo show, Leaves in Space, opened at the Zack Gallery on Aug. 24 – unexpectedly stumbled onto an artistic path.
“It started for me when I saw a photograph of a butterfly,” she said in an interview with the Independent. “It was in 2010. I was fascinated by that picture. I thought maybe I could be a photographer too.”
She had never taken photos before that day. She came to Canada in 2002 from the Philippines and worked (and still works) for the City of Vancouver. “But there is a creative gene in my family,” she said. “My brother is a contemporary dancer. My sister sings. I decided I wanted to be a photographer.”
In 2011, Gatus signed up for a photography workshop at a local community centre. “I bought my first camera from Craigslist,” she recalled. “It was only a hundred dollars.”
After that, she started taking photos. Portraits, flowers and landscapes were among her favourite subjects.
“I joined an online photography group on meetup.com because I wanted to share my pictures with the others,” she said. “I was amazed when the group picked my photos to display on their website. It was so encouraging. Later, a friend told me I had an eye for composition. I was elated. I wanted to learn more about the photographic art, so I enrolled in the Emily Carr certificate program, evening classes.”
She kept up her daytime job through it all, even as she graduated from Emily Carr University of Art + Design in 2018.
“I never stopped taking photos,” she continued, “but, by that time, I stopped being interested in reality photography. I didn’t want my photos to reflect the objects by themselves, the way they are off camera. I wanted people to see my photographs as an art form, different from reality. I wanted my pictures to invite curiosity in viewers.”
Gatus began experimenting with her camera settings. She also tried to move the camera while taking the photos, and the results meshed perfectly with her artistic vision. No recognizable objects manifested in her images when she used the technique called intentional camera movement, combining it with multi-exposures.
Each image is a play of colours and patterns, abstract and bright. The lines and the colours dance together in her photographs, which look more like paintings. She seems to invite viewers to use their imagination, while she herself explores every possible hue and shape to convey her ideas. Her camera is her paintbrush. “I do everything inside my camera. No Photoshop,” she said.
In 2016, Gatus joined Photoclub Vancouver. Since then, she has participated in many of their group exhibitions, including those the group held annually at the Zack Gallery. She liked the energy of the gallery, so, a few months ago, put forward the idea of a solo show and it was accepted.
“This is my first solo exhibition in a gallery space,” she said. “But I had a show recently in the Britannia Art Gallery, together with another photo artist, and I often display my works in several coffee shops.”
“Edges” by Megs Gatus.
Gatus created all the work displayed in the current show during the pandemic. “We all felt so isolated, but we all occupy the same space. We are all responsible for our environment: plants, leaves, flowers. That’s why I used the shape of a circle,” she explained. “I took photos of nature: autumn leaves and spring flowers, and the circles enclose them. The circles symbolize all of us. That’s what the name of the show means: Leaves in Space.”
No image in the show looks like a standard photograph. One doesn’t see leaves or trees, but rather abstract compositions throbbing with life and fantasy. They could be science fiction illustrations of distant galaxies, visual representations of a soul or screenshots from a computer game. Or just beauty emerging from the artist’s insight.
“I like taking photos of organic matter. Leaves, plants, flowers – they are all alive,” she said. “I take photos in parks and gardens around B.C. I only enhance the colours a little inside the camera. Through my technique, the images become abstract, and I try to find ways to present them differently. I want to engage viewers.”
Besides the images hanging on the gallery walls, Gatus also offers large silk scarves for sale. All the scarves are imprinted with the photographs she used in the exhibit. The same swirls of colours in a different medium look surprisingly different, almost unrecognizable, but still pretty and vibrant.
“Sales are not my motivation,” she said. “I want to show my pictures, to share them with people.” That’s why she enjoys commissions. “A client of mine liked one of the pictures in this show so much, she asked me to enlarge it and she put it in her spa office.”
Gatus has big plans for these works after their run at the Zack Gallery.
“I’d like to exhibit this collection in other B.C. cities: Surrey, Port Moody, Langley. Later on, maybe even in Toronto and Montreal. I’m going to retire soon, and then I will dedicate all my time to my art.”
Leaves in Space continues until Sept. 22. The official opening reception will be held at the gallery on Sept. 8, at 7 p.m. To learn more, visit the website megsgatus-abstract.myportfolio.com.
Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
Siblings Becky, left, and Margaux Wosk (photo from We Belong!)
The first-ever We Belong! Festival will take place Aug. 27 in Downtown Vancouver. Organized by siblings Margaux and Becky Wosk, We Belong! is a “one-of-a-kind creative arts market with a focus on giving disabled artists the opportunity to showcase and sell their art.”
Margaux Wosk is a self-taught artist, an activist and a disability rights advocate, fighting for disabled small business owners to get resources. Becky Wosk is an artist, designer, writer and musician; she and Emmalee Watts form the duo Hollow Twin.
Margaux Wosk started their business, Retrophiliac (shopretrophiliac.com), more than 10 years ago. Its focus is on visual art.
“Being an openly autistic person,” said Wosk, “I found that there was a void in the marketplace for the type of items I wanted to see and purchase.
“My business has really ramped up in the last five years,” they continued, “and I focus on autistic, neurodiversity and disability pride items, such as enamel pins, patches and stickers. I design retro-inspired pins, stickers and patches as well. I also have other items I offer and I have over 26 retailers between Canada and the United States.”
Wosk also uses their business “as a way to talk to the government about disabled small business owners” and they have gone to the provincial budget meeting two years in a row “to rally for funding and resources for other people like myself.”
They explained, “Currently, as it stands, we have no resources, and any of the funding that goes to ‘inclusive employment’ only goes to employers that hire disabled people, not disabled people who own their own business.”
Part of the mission of the We Belong! Festival is to raise awareness.
“I have been part of other markets and I do enjoy it, but none of them meet all of my needs,” said Wosk. “I find that sometimes there are financial barriers, sometimes the events are just too long and I find that it can take a toll on my mind and body. I wanted to create something with little barriers for other disabled artists and we were lucky enough to be the recipients of the Downtown Vancouver BIA’s [Public Space] Vibrancy Grant. This way, we won’t have to charge our vendors any costs and we can provide them tables, canopies and chairs. I want people to see what we’re all capable of.”
The Downtown Vancouver Business Improvement Association helped secure the market’s space at 855 West Hastings St. (Lot 19), and it is being provided free of charge. The location, which is between Burrard and Howe streets, is close to Waterfront Station and other public transit points.
“Once the location and date were confirmed,” said Becky Wosk, “we were able to figure out how many vendors we can accommodate and, from there, we put out a call to artists/makers. We have a specific budget to work with, so we have been able to gather quotes for the supplies we will need to make this event successful.
“When working on an event,” she said, “it’s important to work backwards from the date that you have secured and determine what needs to be ordered/booked in advance of that date – for example, canopies need to be booked 30 days out etc. [There are] lots of small details to be mindful of!”
In addition to the vendors who will be selling their creations, the market will include four nonprofits: Artists Helping Artists, Curiko, the Jewish Community Centre of Greater Vancouver’s Art Hive, which is run by Leamore Cohen, and the BC People First Society, on whose board Margaux Wosk sits, as regional director, Lower Mainland West.
While the deadline to apply as an exhibitor has passed, the Wosks are still looking for volunteers to help with set up and tear down. Anyone interested should email webelongfestival@gmail.com.
“She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940.”
“She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, was inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940.”
“She Was Like a Walking Flower, Centred by a Rod of Steel,” by Suzy Birstein, inspired by Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird, 1940.”
In her artist’s statement, Birstein writes about this ceramic work: “‘Self-Portrait with Thorn Necklace and Hummingbird, 1940,’ is one of my favourite Frida self-portraits. In it, she is at her most beautiful, surrounded by flowers, butterflies, her monkey and cat. Her direct stare compels us to reflect upon her body in pain, her complex relationship with Diego [Rivera] and her relentless drive.
“The metal headdress references an iron-clad spirit, topped with a golden bird holding my mother’s pill box. Both Frida and my mother required medication to alleviate their pain, which they housed in these beautiful containers.”
Birstein’s solo exhibit, When I Have Wings to Fly, opened at the Port Moody Arts Centre in the Canadian Pacific Gallery July 28 and runs to Sept. 4. For more information, visit pomoarts.ca/exhibitions/when-i-have-wings-to-fly.
Marty Katzoff’s The Light Within the Shell was created specifically for the Zack Gallery. (photo by Lauren Zbarsky)
The Light Within the Shell exhibit opened at the Zack Gallery on July 4. There is a sign beside the door: “This space is meant to be explored. Wander, sit, experience, enjoy.” The show was created specifically for the gallery.
Created by artist Marty Katzoff, it doesn’t involve traditional paintings hanging on the walls. Instead, it looks like a huge folding screen comprised of a dozen panels. They encircle the room, leaving only a narrow passageway along the walls. Each panel has a colourful abstract painting on its inside surface and a black and white image on its outside. A few small copper sculptures scattered outside the enclosed space complete the installation. Viewers are invited to sit down and meditate on the benches inside the vibrant shell of the exhibit or wander along the outer passageway.
Born in Rhode Island, Katzoff grew up playing sports. “I didn’t do much art until my teenage years,” he told the Independent. “I was going through difficult times in high school. My friend was an artist. She introduced me to the arts. I started making collages and found it therapeutic.”
He never completed high school and worked a variety of jobs. “For the next 10 years, I worked in construction, in restaurants,” he recalled. “And, all that time, I made art. I taught myself to paint. Then I went back to school and completed my BA at Bard College in New York.”
For years, Katzoff worked as an artist in New York, created large murals in indoor and outdoor spaces. He graduated from the University of British Columbia’s master of fine arts program in 2021.
Artist Marty Katzoff at work. (photo by Lauren Zbarsky)
His artistic education vaguely coincided with his newly found fascination with kabbalah, specifically the Tanya, which he has been studying for the past few years. “Before, I had separate ideas about art and spirituality. Now, I’m exploring how Jewish learning is connected to my art, how mythology and tradition transform my spiritual life into my paintings,” he said.
As a child, Katzoff went to a Jewish day school, but kabbalah offered him a different perspective. “I started with a book by Gershom Sholem. Before, I always painted with music in the background. This project is the first I’ve ever done without listening to music. I listened to kabbalah lectures online while I painted. I wanted to discover what I could create while listening to something complex and different … [by the late] Rabbi Yehoshua B. Gordon.”
The idea for the current installation came to him when he was finishing his graduate program at UBC. “One of our family friends lives in Vancouver,” Katzoff explained. “She is Jewish and she told me about the Zack Gallery. I submitted the proposal, and it was accepted. I wanted to create an installation specifically for the gallery, an interactive space, a visualization of light. This show took me 11 months to complete.”
Katzoff sees this exhibit as an amalgam of dreams, painting, architecture, Jewish learning and personal symbolism. Vancouver artist Rosamunde Bordos’s essay about the show, which is available in the gallery, expresses her visual composition in words.
Katzoff’s media, the plywood panels, are all recycled materials. “I have a friend who works in art shipping,” he said. “They ship large pieces in plywood crates. That was where the panels came from. Some of them have holes, so customs could look inside the crates to see the art. I painted around the holes. It was like a collaboration with someone else.”
The size of the panels, some of them taller than a person, left him undaunted. “I always liked to work on a large scale,” he said. “That’s why I did murals in New York.”
His oil paints are also recycled. “I use lots of recycled materials in my art,” he said. “My grandmother was an artist. She gave me her entire collection of pigments for the oil paints I use. I’ll probably work with her paints for the next decade.”
In addition to painting, Katzoff also works as a printmaker. Currently, he teaches printmaking at UBC as a sessional instructor. “For me, printmaking provides the connection with literature, with storytelling and history,” he said. “My brain seems to process that connection better while I’m drawing and etching. My drawings are illustrations, while my painting remains more like a therapeutic activity.”
His abstract copper sculptures, several of which are included in the exhibit, grew organically out of his printmaking. “I make my sculptures reusing the copperplates from my prints,” he said. “I have lots of copper plates. Copper was an important part of Judaism and, after I use the plates for prints, I want to share the metal, recycle it. I make sculptures from it. I also make bracelets and amulets. You can see the remains of the etching if you look closely.”
To learn more, check out martinkatzoff.com. The Light Within the Shell is on display until Aug. 22.
Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
Lilian Broca stands with “Mary Magdalene, The Sacred Union,” which is one of seven panels comprising her current exhibit, Mary Magdalene Resurrected. (photo from Lilian Broca)
Lilian Broca’s artistic canon includes four series on biblical women. The latest, Mary Magdalene Resurrected, is at Il Museo at the Italian Cultural Centre until Aug. 15.
“Each series is an interpretation of a different concern,” Broca told the Independent. “Lilith is the rebel signifying hope for human courage and gender equality. Queen Esther, also courageous and wise, her story addressing the theme of sacrifice and self-empowerment, is actively involved in politics; in her time, known as an almost exclusive masculine realm. Judith, a warrior at heart who single-handedly saves her town from total annihilation, speaks of female effectiveness in the military world – a masculine tradition that she breaks, proving women don’t necessarily excel only in the domestic sphere.
“Unlike Esther and Judith, both actively involved in the masculine domain, Mariam [Mary] is a much more complex figure,” said Broca. “Her story has been greatly redacted in the first couple of centuries CE, leaving us various versions, which offer divergent perspectives of her importance and placement in the life of Yeshua Ben Yosef [Jesus]. One of the concerns in this series is about women’s place, or lack thereof, in institutions – which even in our 21st century – are restrictively based on gender.”
While it may seem odd that Mary Magdalene is included in Broca’s body of work, she reminded the Independent that Mary was “also Jewish until she died, as Christianity did not appear as such until the Edict of Milan in 313 CE and, universally, only at the Council of Nicea in 325 CE.”
A painter for many years, Broca’s Lilith series was created and exhibited in that medium, while Esther, Judith and Mariam are portrayed in mosaics.
“In 2000, I attended The Creation of the World in Jewish and Christian Art with Discussion on Illuminated Manuscripts at the Vancouver Public Library with speakers/presenters Bezalel Narkiss and Dr. Aliza Cohen-Mushlin, both of Israel,” explained Broca. “There, I saw a slide show Bezalel presented on ancient synagogues in the Levant. The Dura Europos in Syria had a beautiful fresco illustrating the Queen Esther story. I was mesmerized and, once home, I started to do some serious research on the Esther stories (more than one version)…. It was during the research that I found out that the palace in which Esther lived with her Persian king, Hashayarshah/Xerxes, had floors ‘encrusted with rubies and porphyry in pleasing designs.’ These were mosaics and, for me, a good omen. I knew I should return to creating mosaics one day, something I experimented with as a student (at 19) but stopped soon after. So, I decided to create the whole Esther series in mosaic glass.”
More than 10 years ago, Broca’s interest in Mary Magdalene was piqued by something she read on the discovery in the 1940s of the Gnostic Gospels, but various circumstances delayed further study, including a visit to her studio by Dr. Adolfo Roitman, curator of the Dead Sea Scrolls, who was in town to give a lecture. He loved the Esther series and suggested she do one on Judith, which she did.
Only in 2016 did Broca return her attention to Mariam. Over eight months, she read dozens of books and essays, and drew and painted the cartoons (drawings for mosaics) for the series now on display. In making the panels, Broca had the help of Adeline Benhammouda, who used to work for Mosaika Studio in Montreal. When Broca was diagnosed with cancer, she asked the studio to make the last two mosaics in the series.
“In the meantime,” said Broca, “the pandemic slowed down activities in all institutions, especially art galleries, and I didn’t know what would happen to my future exhibition.”
The pandemic also temporarily reduced the supply of N95 masks that protected Broca – who suffered a lung infection after her radiation treatment was complete – from the silica dust that results from grinding the glass mosaic tesserae.
One of Broca’s projects as a Shadbolt Independent Scholar at Simon Fraser University was to write a letter describing her activities during the self-isolation months of COVID. All the scholars’ letters were published and Broca’s can be found at the bcreview.ca/2021/02/14/broca-pandemic-magdalene. It is addressed to Mariam and, in it, Broca explains why she chose large (79-by-48-inch) panels for this series.
“In the past, women artists, their works and their stories were mostly associated with the intimate and the small, as though they dared not take up valuable space and time,” she wrote. “As you know from my past art works, I resent that timid notion. My heroines insist and demand the space and importance that long ago was offered to masculine achievements in the military, politics and commerce.
“And, finally, Mariam, after reading so many diverse accusations, betrayals, and the vilification you were subjected to over the centuries, I have decided to express the existence of disparate accounts of your story with text in each mosaic panel, hence the illuminated manuscript composition and unifying motif. Each panel displays three to four lines in an ancient language spoken during your time on earth.”
The languages featured are Aramaic, Hebrew, Ancient Greek, Armenian, Latin, Amharic and Coptic. Broca chose to make seven panels because seven “is a sacred number in the Jewish tradition.”
“Symbolism plays an important part in my artworks and this series is no exception,” Broca told the Independent. “Each drawing includes symbols that are meaningful in both Judaic and Christian traditions. Whether they are flowers, fruit, boats, pottery or textile patterns, these symbols speak of the distant past, yet most of them are recognizable today. Just like an illuminated manuscript page, I sought to illuminate what lies hidden or repressed through the symbols on the borders of each ‘page.’ Hopefully, through them, new ideas can be brought to life.”
Lilian Broca working on the panel “Mary Magdalene, Defiled and Defamed.” Her exhibit, Mary Magdalene Resurrected, is at Il Museo until Aug. 15. (photo from Lilian Broca)
While the Esther and Judith stories have a beginning and an end, Broca said, “Mariam unfortunately is a figure that appears suddenly in Yeshua’s (arguably) 33rd year and disappears right after the Crucifixion that same year. The Gnostic Gospels and other historical documentation that refer to her following the crucifixion are interwoven with legend and myth, none of which is accepted by academics. I chose scenes from all sources, scenes that I felt relayed best her high social status during Yeshua’s life, the love and closeness the two shared, her marginalization once Yeshua died and there was no one to protect her against the ill will and jealousy of the Apostles, the relationship with Mary the Virgin and, finally, my personal vision of a balanced religion, any religion.”
For the series, Broca studied the history of the Jews in the first-century BCE to first-century CE period. “I loved all that research,” said Broca. “I learned so much about Judaism in the process. It was reassuring to read Yeshua’s Jewish parables and to realize that he was very, very concerned with the lack of faith he found in the small beit hamidrash(es) they had in those days and, of course, in the temple. The political situation at that time was extremely complex and the ‘ruling class’ of Sadducees and Pharisees kept the masses in poverty while most of them aligned themselves with the Romans and became wealthier than they had ever dreamed. Yeshua never planned on starting a new religion; on the contrary, he wanted a return to the old ways. My understanding is that the 12 disciples were responsible for all the changes that ensued after Yeshua’s death.”
During the drawing stage of the series, Broca said she consulted two academics – Dr. Mary Ann Beavis and Margaret Starbird – about “‘how far can I push the envelope?’ before I get reprimanded by Christians for profanity or blasphemy.” For instance, wondered Broca, is it OK to portray Jesus washing Mary Magdelene’s feet?
“Each time I heard their answers,” said Broca, “I weighed them carefully, because, after all, I do retain an artistic licence for expressing my own perspective in art. But, at the same time, as a Jewish woman (not a Jewish artist) who embarks on a sensitive subject, I had to make sure I respect the Christian beliefs. I would not appreciate a Christian person making art that endorses what I consider derogatory Jewish images or symbolism.”
At the exhibit’s opening, Broca said, “I am not a theologian nor a religious person and my point of view remains, as always, a feminist one.”
She noted, “Mary Magdalene lived in a strict patriarchal society when women had few rights and freedoms, yet she left her sanctuary, her home and family, in order to follow a single man, without a job or an income, without a fixed address, a man traveling with an entourage of 12 other men spreading the word of God.”
She said, “For 20 centuries, Yeshua, or Jesus, has been both a bridge and a barrier between the Jewish and the Christian faiths. Although I find Jesus equally fascinating, this body of work here, is not about him. It is strictly about his favourite and beloved disciple, Mary the Magdalene.”
The documentary Mary Magdalene in Conversation with Lilian Broca is in post-production. The film, for which Broca wrote the script, is fully subsidized by the Canada Council for the Arts. It follows the journal Broca started in early 2016, when she embarked on her research.
“My hope is that the Mary Magdalene series will open new avenues to perceive the hugely influential relationship between Yeshua and Mariam … as well as considering what happened to that relationship in the hands of the male founders of Christianity,” said Broca. “In addition, I hope that, through my Mariam mosaics, viewers will be profoundly motivated to reexamine this whole critical episode of human history.”
In a 2020 article, Italian Cultural Centre director and curator Angela Clarke spoke in this context about Broca’s body of work as a whole, noting: “Through her mosaics, Broca looks to glass shards as a means to remind viewers that the traditional paradigms associated with traditional institutions and power dynamics can be broken through and reconstructed into a world that is more healing.”
