crafts

Homemade fun food & toys

Healthy food can make for a fun snack. The website hello, Yummy has lots of ideas about cooking for and with kids. This banana car with strawberry wheels and a graham cracker bear driver is but one option. (photo from helloyummy.co)

If I had a dollar for every time I heard a parent tell their kid to stop playing with their food, I’d be a very rich woman. I might even be able to afford a kosher prime rib roast. That being said, I’m here to tell you that sometimes it’s perfectly acceptable to play with your food. Like when there’s a banana strawberry car involved. Or maybe some peanut butter.

Anticipating the visit of my grand-nephew and grand-niece got me thinking about how we could have some fun together in the kitchen – without sending anyone to hospital or having to move afterwards. The 3-year-old, Raphael, loves to help his mom cook and bake, so I figured this would be the perfect way to bond with him. His 1-year-old sister, Ariel, might not be adept enough for the culinary process, but I’m sure she’ll eagerly participate in the finished product.

I think we can all agree that food is more fun when you can play with it. It brings out the inner kid in us, the one who’s just dying to squish mashed potatoes through our teeth. Unseemly behaviour for an adult? Sure. Have we all done it? You betcha. And who among us hasn’t rolled Wonderbread into soft little balls? The fact that edible toys are, for the most part, healthy, is a win-win. You just need to make good food choices.

For the super-fun banana car snack I found online (helloyummy.co) all you need is a banana, a couple of strawberries, some peanut butter to attach the “wheels” to the body of the banana car and a graham cracker “driver” (an animal cracker hippo or elephant works perfectly well, too). As for the strawberry “wheels” you could replace them with thick slices of kiwi, mango or even grapes. If you really want to get decadent, you could dip the banana wheels into melted chocolate, add a red licorice tailpipe, or tuck some raisins or blueberries into the “wheels” to simulate hubcaps. The possibilities are truly endless.

While the original recipe calls for using toothpicks to attach the wheels to the body of the car, I’m hesitant to do that, considering there’s a 3-year-old and a 1-year-old involved. It’s a foregone recipe for disaster.

Instead, I’m sticking with peanut butter as the adhesive (a glob of cream cheese could also work in a pinch). And, yes, I checked with their mom first to make sure neither of them is allergic to peanuts. Given that both kids were practically weaned on Bamba (the peanut-flavoured melt-in-your-mouth Israeli snack food), I figured I was safe on that count, but it’s always good to check with the parents.

Since I’m not sure of the practical play factor of these banana car snacks, there won’t be any makeshift racetracks as part of this edible experiment. (Will the wheels even turn? I doubt it.) Although I did see lots of great ideas on Google and Instagram.

Lucky for me that little Raphael and Ariel are the opposite of picky eaters. In fact, they’ll pretty much devour anything in sight. It doesn’t matter how esoteric, spicy, slimy, crunchy or smelly it is, they’re game to try it. And, if you transform the food into some kind of insect, animal or character they recognize, even better. All it takes is a bit of ingenuity and some basic foodstuffs. The look of sheer wonder on a kid’s face when they see an insect made out of celery, apples and pretzels, and then you tell them they can eat it – well, nothing beats that.

So, go ahead and play with your food, make mealtime and snack time fun, and let your imagination soar. It’s unquestionably a healthier choice than plopping kids down in front of a screen, plus it encourages innovation, resourcefulness and artistic expression.

Aside from fun food snacks, I’m a bit addicted to Instagram for all the cool DIY toys you can make for toddlers and preschoolers using nothing more than leftover paper towel rolls, ping pong balls, a plastic straw, a bit of tape and some kids scissors. As a former children’s librarian, I have all sorts of craft tricks up my sleeve, and I love the uniqueness of homemade toys. But I definitely need a craft refresh now and again.

I’m always a little disheartened by the number of adults whose go-to gifts involve ordering overpriced toys online. I know that not everyone has the time or inclination to make a gift, but I sometimes think our culture has just gotten lazy. And how many times have you seen a well-intentioned adult (with a lot of disposable income) buy a 2-year-old a $75 toy only to have the kid show more interest in the box or the bubble wrap? Expensive does not always equate to fabulous toys. Put some time and thoughtfulness into it, and I guarantee your DIY gift will be memorable.

The second summer of the pandemic, I made a bunch of felt animals for then-2-year-old Raphael and, according to his parents, he loved them. He’d stick them on any surface within reach, and they were a great way to learn animal names and have fun doing it. I’m not saying they were newsworthy, but they were all handmade with love.

And making them was not as onerous as you might think. Just find some free templates on Google, print them out, buy some felt and glue at the dollar store, do some tracing, and boom – you’ve got yourself some mighty fine felt board animals. Aside from putting them on surfaces throughout the house, you can cover a poster-size piece of corrugated plastic with felt (again, dollar store material) and use the animals to make up stories on the board.

It’s my belief that, if you make it, they will come. If you buy it, they may just play with the box instead. See you at the grocery or dollar store.

Shelley Civkin, aka the Accidental Balabusta, is a happily retired librarian and communications officer. For 17 years, she wrote a weekly book review column for the Richmond Review. She’s currently a freelance writer and volunteer.

Our relationship to objects

In DANCE:CRAFT, dancers Heather Dotto and Joey Matt interact with and reinterpret five elements – glass, metal, wood, fibre and ceramics – created by B.C. crafts artists. (photo by Michael Slobodian)

After years of development, DANCE:CRAFT will see its world première May 20-22, 7 p.m., at the SFU Goldcorp Centre for the Arts, Fei and Milton Wong Experimental Theatre. Among the craftspeople who contributed their creativity to the show is Hope Forstenzer, a glassworks artist, who also happens to be the director of the Gertrude and Sidney Zack Gallery.

“I was asked to be part of the project in October of 2016 and, at the time, the thinking was that it would take about two years to develop,” Forstenzer told the Independent. “It wound up taking longer than that for lots of reasons – I think one of the primary dancers went on maternity leave and, then, right as the project was about to begin rehearsals, COVID shut everything down.

“Initially, Joe [Laughlin] and I had all kinds of discussions and brainstorming sessions about ways to incorporate pieces into the dance. We rethought quite a bit of it when we started up again, and we wound up with some very interesting stuff that was quite different in some ways than we originally imagined. I think it’s going to be quite a bit different than any of us originally thought – the world isn’t what it was in October 2016.”

DANCE:CRAFT is described as “an exploration of two dancers interacting with numerous craft objects in a reconfigured theatre setting. It’s craft seen through the lens of dance and remixed, a look at our relationship to objects, creating and interacting with them.”

Presented by Joe Ink – which is led by Laughlin – and SFU Woodward’s Cultural Programs, DANCE:CRAFT also features five virtual reality films that give viewers a look into the artists’ studios.

“I’ve made six large blown glass rock-like pieces with lights inside of them, a large acrylic box full of glass balls, and 12 hanging cylinders in various sizes,” said Forstenzer.

photo - Hope Forstenzer has created 12 hanging cylinders for the performance — Hope Forstenzer has created 12 hanging cylinders for the performance. *(photo by Hope Forstenzer)*

The whole creative endeavour began as a research project focusing on dance and art. Laughlin conceived of the concept and the dancers are Heather Dotto and Joey Matt. They worked with five B.C. artists, facilitated by the Craft Council of British Columbia, curators of the show. In addition to Forstenzer, Stefanie Dueck (metal), Patrick Christie (wood), Deborah Dumka (fibre) and Debra E. Sloan (ceramics) provide the five elements that the dancers and Laughlin reinterpret.

“I have been thinking about the earth, the environment, the elements, evolution, geography, migration and humans,” says Laughlin in the press release. “The tactile sensation of handmade objects juxtaposed with the ephemeral quality of the dancing body triggers a memory experience. Being immersed in an environment and watching the body respond to texture and colour is what anchors us in time and space. We are looking for connections between communities and the natural world, geography and the human family.”

Laughlin added, “The process for creating a dancer incorporates fibre, sinew, muscle, bone, water, pressure, agitation and repetition. Craft is a transformative process that incorporates stone, fibre, wood, metal, water, pressure, agitation and repetition.”

DANCE:CRAFT asks audiences to consider, “How do objects further extend the language of the body and its narrative possibilities?”

photo - Glassworks artist Hope Forstenzer — Glassworks artist Hope Forstenzer *(photo from Hope Forstenzer)*

“I come from a theatre background and have done a great deal of work with dancers and actors,” said Forstenzer in contemplating this question. “Objects – props, costumes, sets, and all things like them – become part of a performance completely. A knife becomes part of an arm, to use for harmless or harmful purposes; a table becomes a second stage if someone stands on it; a mask hides a face. The best performances use performers, environments and objects to tell a story fully. I think what we’ll see with DANCE:CRAFT is a full storytelling collaboration, in which the artists have given works to Joe, and he has created a story to tell with them.

“This has been a fun project to work on,” she continued. “It’s not that often you get to do a collaboration like this. I’m really excited to be part of it.”

Tickets for the performance are $30 ($25 for students and seniors) and they can be purchased at eventbrite.ca.

Art show with a holiday feel

Ande Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. (photo from Zack Gallery)

The current show at the Zack Gallery, Affordable, opened on Nov. 17. It delivers on its name’s promise. Every item on display is less than $250 and thus in the realm of affordability for many people, not just art connoisseurs.

“That’s what I wanted for the Zack Gallery from the beginning,” said gallery director Hope Forstenzer. “I wanted to deepen the involvement of the JCC community in the gallery, wanted the art within people’s reach.”

Accordingly, this show looks more like a holiday craft fair than a high art exhibition.

“I don’t believe in the separation of art versus craft,” said Forstenzer. “For me, craft is another word for art, but art that is functional and affordable, designed for enhancing your life and your home rather than a wall of a museum. I hope we can make such a show an annual event.”

To achieve the artisan market feel, Forstenzer invited 10 artists in different media to participate. “They are all local B.C. artists,” she said. “Some Jewish, some not. I wanted to cater to different tastes, to represent different artistic fields. I wanted the show to be fun.”

photo - Ceramics by Hitomi McKenzie — Ceramics by Hitomi McKenzie.

The atmosphere of the show is jazzy and welcoming. The giclée prints of well-known Vancouver artist Linda Frimer glow with greens and blues. The glass and jewelry twinkle. The ceramics by Hitomi McKenzie stand proud and bright. Mariana Frochtengarten’s colourful shawls in Shibori patterns add a touch of elegance.

Frochtengarten teaches textile art at the Jewish Community Centre of Greater Vancouver. “This is a great opportunity for me to show the community my personal work,” she said. “My work is based on the principles of Shibori – a Japanese manual tie-dye technique. I combine the ancient Japanese tradition with a contemporary approach.”

She works with natural fibres, mostly cotton and linen, and has been working as a textile artist for more than 25 years. “My way into textile art was a bit accidental,” she told the Independent. “I was born in Brazil. When I was in high school, I took a batik class for a hobby, but I fell in love with it.”

After graduating from high school, she studied at Fine Arts and Education University in Brazil and later completed her master’s in fine arts (textiles) at Nova Scotia College of Art and Design, in Halifax. “For 17 years, I worked with batik,” she said. “I had a business in Brazil and sold my works in stores, galleries, shows and fairs. I also experimented with some Shibori. I slowly moved on to my own form and interpretation of Japanese Shibori after moving to Canada in 2006. I love the elements of surprise involved in the process of Shibori and I am fascinated by the idea of creating different designs by blocking areas of the fabric before dyeing it.”

Another artist who works with an unusual material and technique is Ande Axelrod. Her company, Treats Designs, produces whimsical and sophisticated tagua jewelry: necklaces, earrings, pendants, and bracelets. Axelrod is very enthusiastic about her artistic creations. “Tagua is known as ‘vegetable ivory,’” she explained. “The tagua palms are native to the rainforests of Ecuador and other South American countries. The nuts grow and harden inside their seedpods. Some tagua nuts can grow up to six centimetres. Once the seedpods are ripe, they’re picked, and the seeds are dried in the sun, peeled and polished.”

The creamy white substance of the nuts is incredibly hard, similar to elephant ivory, hence the name. According to Wikipedia, a mature tagua palm can produce up to 20 pounds of vegetable ivory a year.

“Tagua nuts have been used as a substitute for ivory since the early 20th century,” Axelrod said. “The local masters carve the nuts into a variety of beads and buttons and dye them using bright natural colours.”

photo - Mariana Frochtengarten shows of one of her colourful Shibori shawls — Mariana Frochtengarten shows of one of her colourful Shibori shawls.

She is thrilled to use tagua nuts as the base for her jewelry. “I worked as a graphic designer for more than 25 years. In 2011, a friend and I took some jewelry making classes and I explored a variety of media and techniques. The next year, I discovered tagua while traveling in South America. I was dazzled by the colours, and I loved how light and comfortable the pieces were. You could wear a bigger statement necklace or a pair of earrings and not have a sore neck or headache at the end of the day.”

The sustainability and eco-friendliness of tagua sealed the deal for her. “I wanted to save elephants and I was truly inspired by the vast creative potential of this versatile natural material. It also provides an economic incentive for the local communities to protect the rainforests,” she said.

Since then, Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. “Before COVID, I’d made annual visits to Ecuador each February. It gave me the opportunity to work with tagua throughout the process, from seed to bead. Of course, like everyone else, I’ve had to improvise these past two years. Zoom, WhatsApp, FedEx and Western Union have enabled me to stay in touch with my South American partners and get tagua here for me to create my jewelry.”

While Shibori scarves and tagua jewelry may more easily be thought of as unique artwork in the Vancouver context than photography perhaps, Michael Shevloff proves that he is an unquestionable master of the camera, producing his own singular creations. His images, both in colour and in black and white, are statements of his love for British Columbia: its forests, its mountains, its waterways, its streets.

“I do predominantly nature photography,” he said. “However, I also shoot street photography, portraits, and many other genres, both digital and film.”

For this show, Shevloff offers framed and matted photos and photo coasters. “In the past, I also produced books of my photos, collages, cushions and more. I even put one of my images on my phone cover. The choices are many, and there are online firms, as well as local places, that specialize in putting images on almost any surface.”

He has been taking photographs since he was a teenager. “That was a long time ago,” he joked. “I have albums filled with photographs from places I have worked and traveled throughout the years.”

For Shevloff, photography has always been a hobby, while he worked in information technology. It remains a hobby in his retirement, although he obviously has more time now to immerse in his artistic endeavours.

photo - “Tropical Vancouver,” by Michael Shevloff — “Tropical Vancouver,” by Michael Shevloff.

“I have taken classes with professional photographers to hone my craft. And I belong to two photo clubs in Vancouver,” he said. “Vancouver PhotoClub is a well-organized group with monthly meetings and outings. I enjoy being a part of that club because they have assignments, which gives me a challenge and focus each month. They also organize exhibits, which gives me an opportunity to show my work.”

He belongs to the West End Photographic Society, as well. “That one is dedicated to film work and darkroom processing,” he explained. “They also organize exhibits. I enjoy the challenge of working with film and working with prints.”

The 10 artists of this show incorporate different art forms, different artistic philosophies, different ethnic roots and different price ranges. But one fact unites them all – every piece of art in the gallery for the next month is affordable.

The exhibit continues until Dec. 31.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].