nature

Love and concern for nature

Nathan and Sidi Schaffer at the opening of their photography exhibit at the Zack Gallery June 22. (photo from the artists)

Painter, printmaker and mixed media artist Sidi Schaffer has a new show at the Zack Gallery – a photography exhibit with one of her sons, Nathan Schaffer. Eye Love Nature invites viewers to see the beauty and wonders of the natural world, and for us to recognize the dangers we pose to it.

photo - Embraced and Loved” by Sidi Schaffer — Embraced and Loved” by Sidi Schaffer

Rather than nature as something separate, we see ourselves in the Schaffers’ photos. Sometimes, the animals are doing something that we enjoy doing, like the three whales in Nathan’s “Family Swim,” only their fins visible in the misty ocean. Other times, we can empathize with what a tree has endured, but also our part in hurting it, as in Sidi’s “Embraced and Loved,” which shows a gnarled tree not only tightly wrapped by a vine, but also scarred by the initials, including a pair in a heart, that many people have carved into it.

The titles of some of the photos bring a smile, but also a sense of responsibility. The overall feeling of the exhibit, however, is uplifting, hopeful.

“I have a fondness for word play and puns as a way of expressing humour. I find it helps keep a positive environment when interacting with others and, at times, deal with sensitive issues in a less threatening manner,” Nathan told the Independent. “Artistically, my goal is to engage the audience both visually and with language. ‘The Pepsi Challenge’ [in which two horses tussle over a Pepsi cup] in my mind ‘can’didly raises concerns about human garbage and pollution straight from the ‘horse’s mouth,’ so to speak. In ‘I’m Stumped,’ there is also a bit of fishing line on the stump under the bird’s foot – again a reminder that human pollution is unfortunately prevalent in the lives of wildlife and sometimes it can feel like we are stumped trying to deal with it.”

photo - “The Pepsi Challenge” by Nathan Schaffer — “The Pepsi Challenge” by Nathan Schaffer

Eye Love Nature is the first photography exhibit for both Schaffers. Sidi said, “as I age, I wanted to see my photos on a gallery wall and share our joy creating them with the people in the community.” Nathan writes in his artist’s statement: “I very much hope the viewers enjoy the photos and that positive emotions arise and carry forth.”

Both Schaffers thanked Zack Gallery director Hope Forstenzer and the selection committee, as well as their friends and family, “for providing guidance and supporting this,” said Nathan, who works as a psychiatrist treating adults at a community mental health clinic.

“The resilience of many patients inspires me to search for strength and marvel at beauty in nature,” he said. “I often recommend spending time in nature as a way of reducing distress from inner turmoil, both to patients and family. I also enjoy my photography as a way of expressing latent artistic interests, as I haven’t improved my drawing beyond a rudimentary level. It is a counterweight to the stress associated with my work.”

For Sidi, who is a career artist, the skills involved in painting/printmaking and photography overlap to some extent.

“The combination of a good eye and imagination can help in both forms of art expression,” she said. “[But] the trigger when taking a photo is coming from outside. It is your sudden surprise of what your eye sees in front of you at a certain moment, in a certain light or shadow. It can be a landscape, people or clouds in the sky. It can be a design that the power of nature created on a tree bark, or a gentle breeze moving the petals of a flower. You can be enchanted by a flower’s seeds that hide themselves from the elements.

photo - “Burst of Colour” by Sidi Schaffer — “Burst of Colour” by Sidi Schaffer

“As compared to painting or printmaking, with photography, it’s presented to you, you only have to look and explore,” she said. “When I am in front of a canvas or paper, it’s usually in front of a white surface that waits for my imagination, for my expression of freedom to choose the subject or design that comes from inside me. It takes me even more into my inner self, into a world that brings me satisfaction, reflection and peace. Physically, painting is more challenging; my whole body is involved in the making. I love both mediums and hope to combine them in my mixed media works.”

While Eye Love Nature is Sidi’s first photography exhibit, she has been a photographer since childhood. Sidi was born in Romania – her mother studied photography before the Second World War.

“After the war, coming back home from the camps, my parents opened a photo studio,” said Sidi. “From then on, even as a little girl, I immersed myself in their world. I assisted my father in the dark room; I helped colour the black and white photos with watercolour. I learned from my mom how to touch up the negatives. Today, we would call it Photoshop. In my later years, here in Canada, at the University of Alberta, in addition to painting and printmaking, I also studied photography. I will always be thankful to my parents, who exposed me to the magic of photography.”

It was Sidi who gave Nathan his first camera when he was young. “But the love of nature, the curiosity, his investigative spirit and his good eye, he developed through his life, step by step,” she said. “He was always surrounded by art and love of the natural beauty of our world.”

When asked if he had been lucky enough to meet his grandparents, Nathan said, “Yes, I have vivid childhood memories of helping them develop negatives in a darkroom with a red light and strong vinegar-like smell. I very much enjoyed spending time with them while watching photos gradually appear during this process.”

Of course, photography has changed much since that time.

“Through the years, I’ve worked on film and in dark rooms,” said Sidi. “With the explosive development in photography these days, I switched very happily to the digital camera. This way, I have a more direct and faster approach to picture taking. My aim is to stay true to what I see and not manipulate the image except maybe to crop or lighten/darken if necessary. We are surrounded by enough fake images and news these days. I want to be far from all that. The truth gives us freedom.”

More than 40 photographs comprise Eye Love Nature.

“Some Days I’d Rather Be Fishing” by Nathan Schaffer

“For this show, we picked images where we were primarily appreciative observers rather than creators,” said Nathan. “We only attempted to correct minor blemishes, in keeping with our parenting style,” he said with a smile.

There were many candidates for inclusion in the exhibit. “Like in nature, Darwin’s rule of survival of the fittest was the main guiding force,” said Nathan. “Some couldn’t compete due to technical issues such as file size or being unfocused; others lost out due to not being as captivating. Hope, the JCC gallery director, also helped in selecting the final choices.”

As for the choice of where to direct any profits made from the show, the Schaffers have decided to divide them equally between the Canadian Cancer Society and the Canadian Parks and Wilderness Society.

Both organizations, said Nathan, “do their work in what appears to be very different areas; however, they share an important similarity. Cancer is essentially resident cells going rogue and taking over space and resources from the body, thereby putting it in serious danger. Civilization and humans can have a similar destructive impact on nature and wilderness by urban spread and taking of natural resources without limits. Controlling these rogue processes is needed in order to save and heal patients and nature. These organizations share in a mission of tackling some of the major problems we face.”

Eye Love Nature is at the Zack Gallery until July 24.

Artist advocates for nature

Lori Goldberg’s artwork reminds viewers that “that which we discard doesn’t disappear.” (photo from Lori Goldberg)

If you attend a performance at Queen Elizabeth Theatre, you will see the artwork of Lori Goldberg. She is one of the artists whose creations are at the theatre for another couple of weeks. The exhibit opened Oct. 29.

“Queen Elizabeth Theatre has a program for exhibiting artwork by local artists,” Goldberg told the Independent. “There was a call that was sent out a few years ago and I responded. I was accepted and the work was to be installed just when the pandemic began, so it was postponed until this year.

“It is an ideal venue,” she continued, “as thousands of people a week attend events at the Queen E. My art has a message about climate change and it is important that it gets seen by as many people as possible. My pieces are on exhibit until Dec. 19, and people are only able to see it if they have a ticket to an event. Alternatively, I am available to take anyone interested on a private tour.”

The paintings in the exhibit come from three ongoing series: Plasticity, Poetics of the Discarded, and Reconstructing Nature.

“For many years, I have been investigating what happens when two opposing places – cities and nature – collide, connect and transform,” said Goldberg. “Through more awareness and experience firsthand, many of my works have ultimately been about the precarious relationship that we have with our natural world. Seeded in environmental advocacy, an animating factor in my practice has been reclaiming, recycling and reimagining refuse.”

photo - “Rogue Fish” by Lori Goldberg — “Rogue Fish” by Lori Goldberg *(photo from Lori Goldberg)*

In the description of Plasticity on her website, Goldberg mentions her discovery that ink can be transferred from, say, a plastic bag, to canvas. Her creative process invites such discoveries.

“I am a diverse artist and my ideas dictate my art,” she explained. “My practice has primarily focused on painting, but I have had to explore other mediums to adequately express my concept. Besides paint, I have explored photography, assemblage and sewing. I have worked with clay, glass, so-called ‘trash’ from my studio, single-use plastic bags that I fuse on canvas, and I have stuffed lost socks with fabric remnants given to me by tailors.”

For Goldberg, the camera is her “sketchbook” and a photo is generally the starting point for her painting.

“My work references the physical world at one point in my creative process,” she said. “When I research and gather information, I look for source material that is usually filtered through my own photo documentation. Other photo images can come from friends, the internet or by random discovery. I also use memory, dreams – and always my imagination. I take parts of photos that resonate for me and incorporate that visual language – usually recontextualizing and altering it – in my work.”

As an example, Goldberg spoke about the series Reconstructing Nature, which references nature/urban tensions found in Vancouver. “There is no lack of trees here and our city is in constant state of flux, with the demolishing of buildings and the construction of new ones, so I take photos of the nature that is all around me, but also of the scaffolding and cranes that are so prominent in the city as well,” she said. “In the Poetics of the Discarded series, I started by visiting a number of refuse sites, with an interest in memory and objects. Within the refuse, there were mounds and mounds of history: the detritus of days spent, life and death, business, conveniences used, sentimental things and so much more. I would photo-document these toppling heaps of refuse and re-contextualize and resurrect them as a visual reminder of the ongoing narrative between humans and their environment, reminding us quietly: that which we discard doesn’t disappear.”

photo - “Reconstructing Nature” by Lori Goldberg — “Reconstructing Nature” by Lori Goldberg *(photo from Lori Goldberg)*

While Goldberg does not paint on location often, she said, “My creative process is to go out into nature or the city, experience it, document it and return to my studio. Having said that, making work outdoors is becoming more interesting to me and it is a future direction that I plan to spend more time doing.”

With her art, Goldberg said, “I would like to think that I am creating work that is impactful to the viewer and especially the younger generation, that they will be empowered to take action towards making a difference as they engage with the world.

“The works are meant to be educational and I hope that they impart to the viewer a sense of personal responsibility – that they put to action what they feel and be one small ripple of change to create a better future for themselves.”

An educator for more than 30 years, Goldberg has taken her classroom outside and into the public arena, where, she said, “I create hands-on workshops using materials that address repairing the planet and healing ourselves. I created a project titled Lost Socks, where the public stuffed and sewed lost socks together to create a long tubular form that stood for connection, diversity and difference. Recently, I have used single-use plastic packaging to create wearable art. What I enjoy about these workshops is that they attract all ages and so it is intergenerational and accessible to all.

“Artists are essential in our communities,” she stressed. “Some of us choose to create work that challenges topics that are highly charged and sensitive, but, without venues in which to work and to exhibit, the messages cannot be passed on. I appreciate the exhibits I have had over my life at the JCC – I cannot imagine what would happen if we lost such a significant public space as the Sidney and Gertrude Zack Gallery. It is a venue for Jewish artists and Jewish content. It reinforces Jewish identity, conversations and connections. It is a gallery that has assisted me in my journey as an exhibiting artist and has given me opportunities to work with preschoolers, seniors and poets.”

Goldberg believes in giving back and donates her work frequently to different organizations, such as Big Brothers. “My recent donation was to Tikva Housing,” she said. “I gave them three paintings from my Judaica series. There is a satisfaction that is hard to explain, but it is a joy to be able to offer something of value to make others feel uplifted.”

Goldberg is currently applying for artist residencies in different parts of the world.

“I am interested in responding to the environment that I would be in and allowing it to dictate the direction of my work,” she said. “I want to contextualize my work in such a way that I am creating awareness about our healing of our planet but indirectly, through healing ourselves. Artist residencies offer opportunities for new perspectives and fewer distractions, so you can shed the restraints and discover what is there, but has been hidden.”

For more information, visit lorigoldberg.ca.

Occupying the same space

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.”

photo - “Edges” by Megs Gatus — “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.

Nature-inspired artist

Two of artist Monica Gewurz’s paintings – “Silver Marsh” (above) and “Dawn II” – are featured in the exhibition of the Nature Trust of British Columbia’s Artist of the Year Award. “Silver Marsh” was inspired by a sunset at Addington Point Marsh, one of NTBC’s properties, which aims to conserve waterfowl and fish habitat, and “Dawn II” by a visit to Vaseux Lake in the Okanagan, an NTBC property that protects habitat for bighorn sheep and other threatened species.

Two of artist Monica Gewurz’s paintings have been selected by a jury to be included in the exhibition of the Nature Trust of British Columbia’s Artist of the Year Award. The joint show of the Federation of Canadian Artists and the Nature Trust opens on Oct. 18 at the Federation Gallery on Granville Island.

Before turning her focus to art in the past several years, Gewurz had worked in both the public and private sectors, in areas from commercial real estate to tourism to aboriginal issues. However, art was an integral part of her upbringing in Peru.

photo - Monica Gewurz — Monica Gewurz *(photo from Monica Gewurz)*

“For my parents, art was as important as science,” Gewurz told the Independent. “My mother was also an artist, and she exposed me to art at an early age – not just Judaica and Peruvian art but also art from different cultures. We traveled a lot. I always enjoyed visiting museums and art galleries. And I always had my camera with me, always took pictures. Landscapes and close-ups, textures and patterns always fascinated me.”

Upon graduating high school, however, she chose a different path.

“In the early 1970s, I was studying to become a veterinarian in Peru. At that time, South America went through some economic and political unrest,” she said. “Peru had a military government, and antisemitism was on the rise. My university was hit repeatedly with strikes and class closures. Getting an education was becoming difficult and dangerous. That was when I decided to move to Canada. With my parents’ financial support, I came alone to continue my studies at the University of Guelph. My parents immigrated later, in 1985.”

After university, Gewurz worked for the Canadian government, but she couldn’t abandon her art. “My photography, jewelry and painting all started as hobbies. I needed an outlet to balance my hectic and stressful full-time job…. In 2000, I started making tribal and sculptural jewelry. I was successful enough to showcase my pieces in national craft shows and then commercially in some galleries, here in Vancouver and in the U.S.”

She knew that most professional artists had formal art education, so she enrolled at Emily Carr University of Art + Design in 2011. “I could study there part-time while working,” she said. “It would also allow me the opportunity to meet other artists.”

She finished her studies at Emily Carr in 2016. Coincidentally, she couldn’t continue at her government job for much longer. “Due to a life-threatening autoimmune illness, in 2017, I had to retire,” she explained. “That gave me the opportunity to embark on a new career as a professional artist.”

Gewurz’s paintings are mostly abstracts, reflecting the landscapes of the West Coast. “The force and energy of water and its associated reflective light, the interplay of shadows and colours in a landscape, have always drawn me in as a scientist and an artist,” she said. “The endlessly changing skies and the patinas of precious minerals mesmerize me. I am fascinated with the contrasting nature of life. I paint it all to provide an escape to a dream-like place.”

Fractals in nature and stylized figures frequently populate her paintings. She doesn’t strive for photographic correctness. “Painting in abstract challenges me to represent reality in a veiled, mysterious and intriguing way,” she said. “Abstraction and the use of texture allow me the freedom to change what I see and feel into my own expression. The artistic process is, for me, one of constant discovery and conversation. The painting speaks to me, tells me what it needs, and I respond.”

Although initially she used brushes, she said, “Lately, I transitioned to using mainly a palette knife and other unconventional tools. As a result, my art became more abstracted and complex.”

She bases her paintings on her own photographs and on her memory; she never paints on location. “I paint from the heart and intuitively,” she said. “I don’t paint anything specific in a landscape and that’s what I love about it – the process of being able to use the paint any way I want. I leave out a lot of visual information. That allows the viewers to use their imagination, to see and describe every painting in their own way.”

Gewurz gifts much of her art to charities and friends. “It is exciting for me to witness the connection some of my ethereal-looking paintings elicit in viewers,” she said. “It humbles me, when people I’ve never met immerse themselves in the layers, shades and textures of my paintings and then share with me how they are seduced into a visual, tactile and emotional response. When such a connection is made, I feel that I accomplished my mission. Of course, the cherry on the cake is when somebody buys a painting and becomes a collector and, many times, a friend.”

She shared one such a case. In 2014, an interior designer from Singapore saw one of her mixed media paintings at an exhibit and contacted her for a commission. The painting was two by two feet, said Gewurz, “but she wanted a much larger one, measuring seven by four feet, for her client, a new five-star hotel in Hong Kong. That was a turning point in my career and a huge jump in scale for me. That painting still hangs in their lobby.”

Mixed media seems to be Gewurz’s preferred style. She incorporates in her pieces ancient and modern materials, such as textiles, sand, rust, aluminum foil, copper and silver. She paints in multiple layers to seduce viewers in visual and visceral encounters. But, whatever the materials, her theme remains predominantly nature.

image - “Dawn II” by Monica Gewurz — “Dawn II” by Monica Gewurz

Gewurz’s love of nature led to her involvement with the Nature Trust of British Columbia (NTBC). “I am a donor and volunteer,” she said.

She is also an active member of the Federation of Canadian Artists (FCA).

“One of the main FCA missions is to outreach and raise awareness about conserving the environment and natural spaces,” she said. “Every year, FCA asks their membership to submit a proposal for a show that deals with social and environmental issues. I submitted the idea to have a joint show with NTBC, as they had a common vision, and also to take the opportunity to celebrate their respective anniversaries. Both director boards reviewed and accepted my proposal.”

Of course, she longed to participate in the show as well, since its underlying purpose – the conservation of British Columbia’s endangered habitats – is close to her heart.

“FCA holds several juried shows every year,” said Gewurz. “I regularly submit and often get juried in to showcase in them. This time, I applied as well. I was thrilled and honoured that two of my paintings were admitted. There was a lot of competition.”

Gewurz’s commitment to environmental issues extends beyond her participation in such shows and groups.

“I use upcycled materials in some of my mixed media art,” she explained. “There is beauty in repurposing materials because of their distinctive uniqueness and imperfect textures. Also, the fact of my using them conveys the message to the viewer about the importance of decreasing waste and minimizing our carbon footprint.”

She added, “Art can certainly open people’s eyes to how much our lifestyles imperil the planet. Art could encourage all of us to make positive changes.”

See more on Gewurz’s website, mgdesigns.org.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Hands-on learning at farm

Syd Belzberg talks with Vancouver Talmud Torah kids at Stable Harvest Farm. (photo by Shira Sachs)

“The children loved to take their harvest home to share with their families. Many children helped to prepare the family meals, including washing, chopping and plating their meals. There was so much to learn – how healthy food can taste so yummy, how I can help my family make dinner, how the food can make my body feel good.”

“This is from some cute kid, and I see his picture in front of me,” Syd Belzberg told the Jewish Independent in a recent phone interview. “That’s heart-warming. That’s where it’s all at. That’s beautiful.”

photo - Vancouver Talmud Torah Grade 1 students have a plot on Syd Belzberg’s farm, where they grew scallions and other vegetables — Vancouver Talmud Torah Grade 1 students have a plot on Syd Belzberg’s farm, where they grew scallions and other vegetables. *(photo by Jessie Claudio)*

The note came after Vancouver Talmud Torah Grade 1 students visited Belzberg’s Stable Harvest Farm in Langley last month.

Belzberg got the idea for the farm about a half dozen years ago. He read a newspaper article about Vancouver Sun reporters who had started a breakfast program for schoolchildren in the 1980s. “I got in touch with them and got involved a bit, supporting some of the schools with money,” said Belzberg.

But he wanted to have more of an impact and, after he retired a couple of years ago, he decided to reinvent his Langley acreage, which had been home to his many horses several decades ago, but had laid empty for some 17 years. He based his concept on that of Coastal Roots Farm, “a nonprofit Jewish community farm and education centre” located near the home he has in California. “They do a lot of wonderful things,” said Belzberg, “and I thought this would be a heck of a thing to try and copy in a way.”

He hired Kristjan Johannson to manage the farm and the first crop was planted in January 2020. Despite flooding on the property, they gave away about 90,000 pounds of organic vegetables to a half-dozen food banks, as well as to community meals programs.

“This year, we decided to try and double it,” said Belzberg. And they more than doubled it, giving away an estimated 250,000 pounds of food, while continuing to work on the property.

Belzberg established the Stable Harvest Farm Society, he said, “to make this a legacy for my family.” Of his five kids, only one lives in Vancouver, and that daughter, Tammi Kerzner, “has been a massive help to me to build this,” he said.

“There are many facets to what I want to do,” said Belzberg, “but I wanted to get the food thing right because I didn’t know what we’d have to go through to be successful.”

Belzberg’s approach with this project has been similar to that which he has taken with his other endeavours.

“When I started in the car business [Budget Rent a Car] in ’62, I had trucks and other things in mind, but I wanted to rent cars and learn about that first,” he said. “It’s the same thing here. I wanted to prove we can get the vegetables right before I started to do anything else.”

Educational programming is a main component of the farm. “David Bogoch had a lot to do with teaming up with TT. He is such a supporter of it,” said Belzberg about collaborating with the school. “And my children went there. I have a great-granddaughter now who goes there. So it was a natural [fit]. The part that really put us over the top was Emily [Greenberg], because she’s fantastic. She’s so on top of it, and she’s got Jessica [Claudio] there, who goes to another level.”

“Mr. Belzberg has been a very generous supporter of VTT,” said Greenberg, who met Belzberg for the first time when he first saw the school’s rooftop soccer pitch that he funded. That was in her second week as head of school, she said.

“And we’ve had close relationships with David Bogoch, who is quite close to Mr. Belzberg, and he kept talking to me about this farm that Mr. Belzberg was creating … that Mr. Belzberg had a dream to make this farm a centre for Jewish education and Jewish values and the Jewish community and that he would love to see children using this farm, in addition to how it supports the needy in Vancouver.”

Belzberg eventually invited Greenberg for a visit and they spoke about his vision and she “went away and thought about how we could make that happen from our end and, ultimately, bring kids out there.”

The first thing that happened, said Greenberg, was that Johannson came to the school and helped the kids plant seedlings. “Then we had, basically, a little nursery there at the school and watched them grow and supported them.” The plan was for the kids to plant the adolescent seedlings in April at the farm but COVID restrictions had increased, “so we weren’t able to bring the kids to Langley because it was cross-boundary.” But the planting was filmed and a multi-series educational video was made.

“Thankfully, the regulations changed again and we were able to go in the third week of June and send all of our Grade 1 kids out there,” said Greenberg. “They were able to help reap the harvest and they each brought home a bag of veggies from Mr. Belzberg’s farm and made the most amazing salads and soups and all sorts of things and we’ve got some great pictures of what they made that night. We had parents who were ecstatic, watching their kids eat raw vegetables – including scallions.”

The kids had grown the scallions, as well as lettuce and radishes, and their bags were supplemented with some other vegetables from the farm, such as tomatoes and carrots.

On their visit, the kids also got to see the part of the property that will become a bird sanctuary – “there’s a hundred and some odd different types of birds and owls that feed there and it became a natural habitat,” said Belzberg.

Another aspect of Stable Harvest is bees. Belzberg works with beekeeper Carolyn Essaunce, who owns the Honest to Goodness Farm Co. Essaunce also made a trip to VTT and spoke to each senior kindergarten class.

photo - Beekeeper Carolyn Essaunce speaks to VTT senior kindergarteners about bees and honey — Beekeeper Carolyn Essaunce speaks to VTT senior kindergarteners about bees and honey. *(photo from VTT)*

“She brought a whole honeycomb with live bees,” said Greenberg. “She helped them understand how, when you take a honeycomb and you put it in a machine and spin it, how you get the honey out…. They understood what it was to produce honey and then they all went home with some of Mr. Belzberg’s honey…. That is definitely something we hope to repeat yearly.”

Experiential learning is the future of education, said Greenberg. “For us, we want to prioritize learning through nature and to exposure to nature, but also, of course, finding ways to make sure that Jewish values are part of that…. So this has been a tremendous opportunity for us. It’s only the beginning – we look forward to bringing many more of our grades out to Stable Harvest Farm next year. There’s obviously a science aspect but we also want our kids to be shomrei adamai, guardians of the earth, and understand the power of nature. There’s an empowerment that happens when they’re part of growing a plant and the excitement that happens. And the understanding of the life cycle and how that eventually nourishes us and nourishes those in need – it’s a tremendous marriage of all of the values we have as educators, but also as a Jewish day school.”

VTT has invested a lot of time in iSTEAM over the last two years, she said, “integrating the innovations that have been coming out of Israel and using that as the platform from which to explore science, technology, engineering, art and math. A great example that you have at Mr. Belzberg’s farm is drip irrigation, which is an Israeli innovation…. We love the fact that our kids can be proud of a technology that’s come out of Israel and understand how innovation can revolutionize an entire industry and, ultimately, help people live a better, healthier life.”

photo - All the workers show off the produce reaped during the VTT schoolchildren’s visit to Stable Harvest Farm — All the workers show off the produce reaped during the VTT schoolchildren’s visit to Stable Harvest Farm. *(photo by Galit Lewinski)*

Greenberg’s goal is to get all of the VTT students out to the farm at least once over a two-year span. “We have a lot of ideas,” she said, “and Mr. Belzberg, thankfully, is very flexible. He just says, ‘Tell me what works for you and we’ll make it happen.’ He always says that: ‘We’ll make it happen.’”

And there is lots that Belzberg plans to make happen. Next year, for example, he hopes to build a large kitchen on the farm for cooking classes, education and other activities. Already, the farm has had its first stand, on June 19, and joined its first farmer’s market, in White Rock, on June 20.

“It’s a helluva way to give back and it fills a vast need and I can afford to do it,” said Belzberg when asked why the farm is important to him. “It’ll hopefully continue forever,” he said.

“When I sat there with the TT kids, and they’re coming up to me and shaking my hand, and when I see the letters that are coming back, the salads, the fact that these kids are into food, I give TT all the credit in the world,” said Belzberg. “It was one of the 10 happiest moments of my life when I sat there a week or so back and watched the kids being in the ground, getting their hands dirty. What could be better than that? And the smiles on their faces.”

Saving Israel’s environment

Israel’s Hula Valley is a major stopping place for migrating birds. (photo by D.J. Tiomkin)

Jay Shofet, the director of partnerships and development for the Society for the Protection of Nature in Israel (SPNI), presented an overview of the broad range of work his organization does in addressing environmental issues in the Holy Land during a Nov. 19 webinar hosted by the Jewish Community Centre of Victoria with the Canadian SPNI.

With 35,000 member households in Israel and thousands more around the world, SPNI is the largest Israeli group of its kind. It engages in environmental lobbying of the Knesset and hopes to foster a love of nature through its endeavours. SPNI has delivered environmental education in the Israeli school system and is known for promoting the country’s hiking trails.

Shofet began with the history of the environmental movement in Israel and the “traditional Jewish call for wise environmental stewardship of the land.” It was from this concept that SPNI was founded, in 1953, by a group of scientists, teachers and kibbutzniks who were trying to prevent the draining of swamps in the Hula Valley in northern Israel.

Among the highlights of SPNI’s history is an initiative it spearheaded in the 2000s: a cross-border and environmentally friendly cooperation with Jordan and Palestine to use barn owls rather than pesticides to reduce the rodent populations in agricultural lands.

Israel houses what the United Nations refers to as a “global biodiversity hotspot,” Shofet said. “It’s important to note that Israel is a land bridge between three continents and four climatic zones.”

The numbers of bird and animal species in Israel exceed that of the United Kingdom; the country is also home to a wide variety of flora. Species from Europe, North Africa and Asia commingle with those native to Israel and the eastern Mediterranean. And, each year, Israel is a major migration route for hundreds of millions of birds, including pelicans, which makes the country a destination for birders.

Elsewhere, SPNI has been active in stopping what it believes to be the wrong type of afforestation, the introduction of trees in areas to which they are not ideally suited and that infringe on the natural habitat, such as the batha, a unique Mediterranean scrubland, or what Shofet called “the Serengeti of Israel.”

SPNI is in charge of blazing and maintaining the Israel National Trail and other parts of the more than 10,000 kilometres of trail systems in the country. “It’s a rite of passage for young Israelis to hike the Trail,” Shofet said about the INT.

Recently, the organization has focused on maintaining what Shofet described as a “sustainability mindset.”

“Renewable energy, moving away from fossil fuels, is what the environmental movement is about today,” he said. “Climate change is the organizing principle of the movement…. Our bottom line is to find nature-based solutions to mitigate climate change.”

At the top of current environmental issues for Israel is land-use planning, said Shofet. One of the densest populations of the OECD countries, Israel confronts obstacles in the use of its land. In 2015, SPNI lobbied to stop a group of business and political powerhouses, including former United States vice-president Dick Cheney and media tycoon Rupert Murdoch, from fracking in the centre of Israel.

Shofet emphasized that densely packed, sustainable cities like Tel Aviv are at the heart of protecting Israel’s biodiversity. “This is the only way to keep the open spaces open and to keep nature well-protected,” he said.

“Not all of Israel has to look like Tel Aviv, but Israel does have to build its cities in a smarter way and avoid suburban sprawl,” he told the audience. “Suburban sprawl is killing our open spaces and making life less interesting for people. Cities can be the solution to the environment. If the world had the global footprint of New York City, there would be no global warming.”

A niche for SPNI is urban nature. Such spaces are needed in green cities, said Shofet. To demonstrate this, he showed slides of the Jerusalem Bird Observatory near the Knesset, a place where schoolchildren and tourists alike visit and learn about ornithology up close, and Gazelle Valley Park, also in Jerusalem, Israel’s first urban nature reserve.

The final part of Shofet’s talk touched on the work SPNI is doing during the pandemic to try and ban Israel’s currently legal hunting season. As a start, SPNI has succeeded in getting the Ministry of Environmental Protection to call the laughing dove and the quail endangered species.

SPNI is also rehabilitating the nation’s rivers, trying to protect the diverse number of species and habitats found in its sea, promoting the use of solar energy, working to ensure that Israel has clean and accessible beaches, and encouraging the planting of trees in a way that is mindful of the country’s ecosystem.

Shofet’s concluding remarks offered a hopeful note to the current global environmental situation and Israel’s role in it, pointing out that the entrepreneurial spirit of the start-up nation is well-suited to tackling the challenges of adapting to the green economy.

For more information, visit natureisrael.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Nature’s riot of colour

“Desert Spring” by Jessica Ruth Freedman.

A harsh critique early in her career didn’t stop Victoria-based Jessica Ruth Freedman from doing what she loves – painting – and becoming a successful artist.

“I was born in Montreal, and then my brother and I were whisked away to Kibbutz Ein Dor in the Galilee,” Freedman told the Independent. “After a few years there, we returned to reside in Calgary. I attended what was then called the Calgary Hebrew School-Talmud Torah. I was filled with the love for Jewish lifecycle events, food, and being part of a community. Apart from a fabulous school experience, one episode of failing an art assignment in kindergarten stands out. We were told to pick a rock and paint it like a ladybug. Creatively, I painted it black on red, rather than red on black, so that the white dots would stand out better. I sadly was singled out as an art failure in front of the whole class!

photo - Jessica Ruth Freedman was to participate next month in the Art Vancouver fair, which has been postponed — Jessica Ruth Freedman was to participate next month in the Art Vancouver fair, which has been postponed. *(photo from Jessica Ruth Freedman)*

“Fast forward a few years, a career as a contemporary dancer, yoga teacher and accountant, [then] I returned to my love of painting,” said Freedman, who has a bachelor of arts, with a major in dance and a minor in fine arts, from Simon Fraser University. “At this time, I had moved to Victoria to chase the warmer weather and, after a few holidays in nearby Hawaii, I was hooked on representing the juxtaposition of botanicals versus the urban in my artwork.”

Freedman is one of the artists participating in Art Vancouver, which has been postponed from its scheduled dates, April 16-19, because of COVID-19.

“These days, the traditional way of selling art through a gallery is changing,” she said. “Many galleries are shutting their doors due to increasing rents and a growing online marketplace. Art fairs give individual artists an opportunity to connect directly with new collectors. I also love the communal spirit of the artists working and showing together. There is a lot of sharing of process and information that goes on at these types of events. Since I live on the West Coast, Art Vancouver is the best art fair to participate in, and Vancouverites are a knowledgeable art bunch.”

She said she likes to create fresh work for each art fair. “I consider carefully the city, people, environment and sizes of artwork,” she said. “At this Art Vancouver, I will be debuting some non-traditional materials in my paintings, all while keeping the abstract botanical theme. My aim is to always create work that uplifts and inspires, and I attempt to do this through colour, theme and design.”

Freedman works in acrylic, ink and mixed media. She has exhibited internationally and her work is in private and public collections around the world. On her website, she notes, “My journey through life can only be described as an artistic DIY.” She says she “was always the child who wanted to be left alone to explore and discover” and yet that it is her “path in life to share my art to celebrate connection, serenity and humour and to share this journey together.”

“Many artists will agree that one needs to look inward to find the source of creation,” Freedman explained of her need for both solitude and community. “Even realist painters rely on an internal compass based on technique and free expression. As a Jewish person, I honour the spirit of creation within me, and I also pay tribute to the concept of tikkun olam, the repair of the world. I feel fortunate to explore the creative side of myself for a living, but I also feel it’s necessary to do good work in the world. This might mean volunteering for Jewish events, donating my paintings to charity auctions, or just being a positive person with a solution-focused outlook.”

For Jewish community members who come to see her work at Art Vancouver, the dates for which will be released in the near future, Freedman said, “Surprisingly, a fair amount of Hebrew – my first language – appears in my paintings. If readers come visit my booth, I’ll look forward to pointing it out!”

Though she paints the natural world, Freedman noted a certain irony – she is not very good at caring for actual plants. “I am lucky that I can send my husband out to purchase plants – I paint them and he cares for them,” she said. “I am mostly fascinated by the riot of colour, of chaos, that Hashem has let loose in the natural world. The process of growth and decay, while natural, is obviously hard on us humans but is a natural part of life. I am also very interested in urban design that incorporates the natural world in ways that increase sustainability, beauty, communication and wonder.”

For more information on Freedman, visit jessicaruthfreedman.com. For more on Art Vancouver, go to artvancouver.net.

Beauty of spring in Israel

Spring. Every year, it returns like a miracle and Israel is carpeted with wildflowers. There are nearly 3,000 types of wild plants in this tiny land, a wonderful profusion, among the most abundant on earth. Israel boasts a variety of different ecological systems – deserts and marshes, high mountains, dense forests and open fields, with wildflowers to suit each habitat.

Wildflowers are protected in Israel and nature reserves prohibit the picking of any flowers, even the most common, which helps them to propagate over wider areas. In turn, this brings the sunbirds, which feast on their nectar.

The Song of Songs, which we read every Passover, is a most beautiful love poem. King Solomon wrote it as a dialogue between a young shepherd and his beloved: “Rise up, my love, my fair one and come away / For lo, the winter is past / The rain is over and gone / The flowers appear on the earth / The time of singing is come / And the voice of the turtle is heard in the land.”

The flowers he refers to, nitzanim, still carpet the fields – shiny red poppies flaunting scarlet beauty in the grass.

In Jerusalem Forest, delicate cyclamens bloom in the crevices between the rocks. Called Solomon’s Crown (in Hebrew), they lift their pink, cream or lilac heads on slender stalks. Clumps of wild violets, the dew shimmering like diamonds, add their touch of magic.

Israel’s rainy season, mid-October to late March, leaves a bequest of green. Sharon Valley is dotted with tulips and narcissus. “I am the rose of Sharon, a lily of the valleys” – it is believed that King Solomon was referring to the magnificent black tulips of the Galilee.

In spring, even the weeds in Israel are pretty – the milk vetch, which is a thistle, adds purple blooms to the roadside. The rockrose is abundant in forest glades and the orange ranunculus bursts into bloom. Like its velvety cousin, the anemone, it is a protected wildflower in Israel.

The perfume of daffodils – which suffused the winter – still wafts on the breeze and the white, cream, yellow and blue noses of lupins are pushing through the soil. Oleanders are in bud, growing wild by the banks of the River Jordan and near streams in Galilee, promising a burst of summer beauty. And the blue statica reminds us that we, too, have a Mediterranean coast like the famed Riviera. This lovely sea plant flowers from mid-spring to mid-summer, when its corolla drops off and only the sepal remains.

Who says Israel has almost no natural resources? When you see the splendour in the grass of the land’s spring glory, the wildflowers glowing like jewels, you’ll echo the poet’s words: “Had I but two loaves of bread / I would sell one of them / And buy white hyacinths to feed my soul.”

Dvora Waysman is a Jerusalem-based author. She has written 14 books, including The Pomegranate Pendant, which was made into a movie, and her latest novella, Searching for Sarah. She can be contacted at dwaysman@gmail.com or through her blog dvorawaysman.com.

Letting imagination fly

Janet Strayer at the opening of her solo exhibit, Wings of Imagination, on Nov. 28 at the Zack Gallery. (photo by Olga Livshin)

Janet Strayer first conceived the idea for her new show at the Zack Gallery, Wings of Imagination, about a year ago. “I was talking with Linda, and the bird theme came about,” she said in an interview with the Independent, referring to Linda Lando, director of the gallery.

“Birds appeared in my paintings before,” said Strayer. “They take us into the air, into a different place. Birds symbolize freedom – freedom of movement, freedom of imagination. The flight of imagination allows us to envision different possibilities, different solutions, even different ways to see familiar things. When I considered the name for this show, I thought about [Albert] Einstein and his words that knowledge is always limited, but imagination is limitless. Imagination is the most important thing for any artist.”

Wings of Imagination is all about flight and wings. Birds populate the paintings. Bright and whimsical, they flitter around birdhouses, soar towards a distant sky or interact with other creatures, real or imaginary. Some images are bright, almost cartoonish, inviting a smile, while others seem more serious, characterized by quiet intensity and misty, pastel colours. And then there are funky collages, with real 3-D birdhouses attached to the two-dimensional pictures.

“There are three distinct styles of paintings in this show,” said Strayer. “The three styles are consistent with the theme of the show. I started it conceptually, as I always do, but I couldn’t explore it in any one direction. Wings of imagination is a huge theme, and there is no one way to approach it – all the possible ways should be expressed. Freedom of expression is what it is all about; it is like several different directions of flight.”

image - “Papageno” by Janet Strayer, whose exhibit at the Zack Gallery runs until Jan. 5 — “Papageno” by Janet Strayer, whose exhibit at the Zack Gallery runs until Jan. 5.

One of the styles is almost impressionism. The paintings’ blurry lines are reminiscent of Claude Monet’s foggy nights. The dream-like imagery catapults the viewers into some eldritch realms of sublime illusions with their wings and birds, sky and air.

“Another style is magic realism,” the artist explained. “I wanted to go magical. Imagination is magic. The Canada goose is flying, but his wings are magical – you can’t see such pattern on a real goose, except in your imagination. Beside the goose hangs my homage to Leonard Cohen, as he walks across the sky.”

The two paintings of “Birdwoman” seem similar in composition but entirely different in their palettes and in their emotional subtext. “The colours in ‘Birdwoman on the Roof’ are muted compared to the other one,” said Strayer. “On the roof, she is open to the sky, not as loud as the other, more of a mystery. It has space for you to come in and indulge in your own perception, while the other one is more enclosed inside its room and its brilliant colours.”

Strayer’s magic realism paintings are eccentric and capricious, with clear lines between the colours and frolicking creatures from fantasy novels, while her third style, the collages, appear at first glance as a jumble of small images punctuated by birdhouses.

“Birds need places to live in,” said the artist. “I took a risk with the collages, didn’t know what would happen, but it was such fun working with them. It took me three months to finish those two collages. They started with fragments, and then they led to other fragments. And feathers. And birdhouses. Things tell you what to do, until the entire image comes alive. It was like an adventure in my studio every day. Where would it go?”

Strayer’s playful adventure resulted in two unique art installations. “I wanted people to be surprised by these collages,” she said. “I wanted them to stop and look at all the tiny details. We don’t always stop and look. Even with art, so often, we come to a gallery, but we just glance. We don’t stop and really look.”

Strayer’s is a familiar name to Zack Gallery patrons. She had a solo show at the gallery in 2010, but the difference between the two shows is not only temporal but esthetic. While the previous show was black-and-white digital art and a poetic look at childhood, this one is bursting with colour and exuberance, and features mostly acrylic paintings.

“I enjoy creating digital art,” she said, “but I wouldn’t want it as a steady diet. I’m an explorer. I always want to try something different. I love to work on real paintings. And I’ve always loved colour.”

For Strayer, a predominantly abstract artist, the esthetics of her creations are more important than the telling of a story or the conveying of a message.

“A message should come through the esthetics,” she said. “And, if someone has a different interpretation than me, it’s fine, too. As soon as the paintings are on the gallery wall, they are not mine anymore, even though I created them. Everyone could see something different, compatible with their own memories and experience.”

Wings of Imagination opened on Nov. 28 and runs until Jan. 5. To learn more about Strayer, visit janetstrayerart.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Mixing abstract, nature

Sidi Schaffer’s current exhibit, In Partnership with Nature, is at the Zack Gallery until March 3. (photo by Olga Livshin)

Sidi Schaffer’s art has gone through several different incarnations. At the beginning of her career, in postwar Romania, she adhered to a realistic approach. “For several years, the central images of my work were people,” she said in an interview with the Independent.

After her family immigrated to Israel, she continued her studies and received her art education degree. “At that time, I fell in love with the Impressionists, especially Cezanne, and started painting more landscape and still life,” she said. “I tried to catch the essence, the light and beauty of my surroundings. Even my palette changed.”

The next stage in her artistic development came after she immigrated to Canada in 1975. It was as if every country triggered a twist in her artistic road. “I needed to establish new roots and master new challenges,” she recalled. “In 1980, I went back to school to study printmaking at the University of Alberta. They told me: ‘Paint abstract, throw away realism.’ I followed my teachers’ good advice … and totally immersed myself in abstraction. I simplified my work; my focus became my inner world, my feelings and my emotions. The art-making process became a sacred ritual.”

But pure abstraction didn’t hold her interest for long. Her abstract compositions acquired random elements of realism. “I tried to make my works integrated, bring together abstract and figurative,” she said. “I tried to express the concept of unity between the internal and the external, between the spiritual and the physical.”

Her current show, In Partnership with Nature, which opened at the Zack Gallery on Jan. 31, combines her inclination towards abstraction, her love of nature and her ability to bridge the realistic and the spiritual in her paintings. It also highlights her innate optimism. The show is airy, uplifting and charming, the works prompting a quiet gladness in viewers.

It’s about flowers, but in an oblique, complex way. “I love flowers,” said Schaffer. “Nature is my biggest inspiration. When it surrounds me, I feel alive, free, and in awe of all its beauty and miracles.”

For years, she has been drying flowers between pages of books. “I have piles of those books in my house,” she said. “I always wanted to preserve the flowers’ beauty, even after the original bloom. I have been doing it since I was a young girl…. In autumn, I also dry leaves with their amazing colours and abstract designs. Nothing is more beautiful. Sometimes, I pick a flower just to remind me of a place and time.”

A few years ago, Schaffer decided to try and incorporate those dried flowers and leaves into her art. “I wanted to make them the subject matter,” she said. “Every picture in this show, except one, has one or more dry flowers or leaves in them.”

photo - “Grace into Focus 1” by Sidi Schaffer is part 1 of a triptych — “Grace into Focus 1” by Sidi Schaffer is part 1 of a triptych. *(photo from Sidi Schaffer)*

All of the images in the exhibit are mixed media. She experimented with acrylic and oil paint, with old prints and new drawings, with collage. The dried leaves or flowers form the heart of the compositions.

“I wanted to give them importance,” she explained. “Some of the landscapes in this show look fantastic, because dry leaves play the part of trees. Some abstract collages were like memory boxes for me, with layers. There are dry petals there, and lettering and musical notes.”

Schaffer’s collaboration with the elements of nature tends towards whimsical. Flower petals float on the visual breeze. Mundane dandelions turn into exotic palm trees. Waves of musical notation sparkle with rainbow colours.

“I played with the images,” said the artist. “I didn’t take myself seriously when I prepared this show.”

Schaffer said every image in the exhibit started with an idea. “But I never knew how it would come out,” she said. “It’s a process, a discussion between me and the flowers. Sometimes, it is a struggle. I look at the flowers and they supply more ideas. This one flower I had, I put it on the painting and the petals came off. I left them off, incorporated into the image.… From a flash of excitement to the end result, each image reflects my emotional journey. By the time I finish a painting, it seldom resembles my original starting point. What is important for me is the visual poetry, the relationship of form, space, colour and light.”

Schaffer’s exploration into creative possibilities is nourished by her rich inner life. Before her retirement, she taught art and painted commissions, but never, for example, something made specifically to harmonize with anyone’s living room décor.

“I paint what is inside of me,” she said. “I don’t paint for anyone’s sofa. I enjoy the hours I spend in front of my canvas. It is an intense emotional outlet and, when I’m finished, I feel happy, but, at the same time, drained and vulnerable.”

In Partnership with Nature is at the Zack until March 3.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.