Sky Lilah’s new exhibition, Quantum Sky, is at Art @Bentall this month. Quantum Sky is an exploration of consciousness and what that means to the artist. This self-study is done using various mindfulness techniques, then interpreted through visual art. One dominant theme is the use of chakras, with 21 separate works, three per chakra, dedicated specifically to interpreting the meanings held within. As such, the exhibition is an exploration of an aspect of themselves through her art and letting others into that process, with the intention of creating a space beyond time.
“A lot of it is just trusting the process, which is I guess why I paint in the first place, which I find funny because I’m so organized in life. And when it comes to artwork, I find I just need to start and figure it out as I go, as opposed to planning it all and then starting,” said Lilah.
Esther Rausenberg, Eastside Arts Society’s artistic and executive director. (photo by Adam P.W. Smith)
The Eastside Arts Society welcomes art enthusiasts to celebrate the 25th anniversary of the Eastside Culture Crawl Visual Art, Design & Craft Festival in-person and online over two consecutive weekends, Nov. 12-14 (preview by appointment) and Nov. 18-21. The event’s landmark edition will offer arts patrons an enhanced opportunity to fully customize their experience and visit the studios of 400+ artists.
“As we look back on the past 25 years of the Eastside Culture Crawl, we are incredibly proud of the strong, resilient and inspiring visual arts community we have helped to support,” said Esther Rausenberg, artistic and executive director of the Eastside Arts Society, who is a member of the Jewish community.
“Through our annual Culture Crawl celebration,” she said, “we have not only boosted the careers and livelihoods of countless artists who enrich our city through creative vitality, but we have provided an essential outlet for the public to experience artistic expression and creative connection. The 25th annual Culture Crawl presents a special opportunity to acknowledge, pay tribute to and showcase the extraordinary talents and accomplishments of the visual arts community, while looking forward to an even brighter future ahead with the development of the Eastside Arts District.”
To maximize the Crawl experience and open accessibility for all patrons in Metro Vancouver and beyond, the Eastside Arts Society has created further improvements to its digital presence, including a newly designed and user-friendly website, an artist livestream schedule, appointment booking software and increased access to artists through 360° virtual studio tours.
For those visitors who wish to attend in-person, the Culture Crawl features two options. Based on overwhelmingly positive feedback from 2020, when studio appointment bookings were created for the first time, this year’s event will once again provide a preview weekend Nov. 12-14, reserved for appointments only, cultivating an intimate, interactive experience for both artists and guests. For those Culture Crawl enthusiasts wishing for a more traditional event experience, open studios will return for the event’s main weekend Nov. 18-21.
The Eastside Culture Crawl presents unparalleled access to visual artists practising a variety of different art forms, including painting, sculpture, pottery, photography, jewelry, glass art, furniture, and more. Visit culturecrawl.ca for all the festival details.
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.
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.
“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.”
A still from the feature film Charlotte, about artist Charlotte Salomon.
The creative drive that some people have astounds me. In about a year-and-a-half, as the Holocaust closed in on her – and her family’s history of depression became known to her – Charlotte Salomon painted hundreds of works, telling her life story in images and words, in what is considered by many, apparently, as the first graphic novel.
Somehow, despite the artist having inspired a live action film, a documentary feature, an opera, a novel, a ballet and several plays, I’d never heard of her, or of her masterpiece, Life? Or Theatre? That is, until I watched the animated feature film Charlotte, a Canada-France-Belgium collaboration that was just released. Featured at the Toronto International Film Festival earlier this month, Charlotte has two screenings at the Vancouver International Film Festival: Oct. 3, 3 p.m., and Oct. 6, 9:15 p.m., at Vancouver Playhouse.
Based on the story and the cast, the Jewish Independent chose to be a media sponsor of the local screenings. And, on these points, the film scores high. Led by Oscar nominee Keira Knightley as the voice of Charlotte, the actors do a formidable job with dialogue that is, at times, stilted and animation that is pretty basic, with the exception of the scenes and transitional pieces that depict Salomon’s artwork. These parts of the film are sumptuous and give the most sense of Salomon as a person and artist.
The film begins near the end of Salomon’s life, as she is handing over her paintings to a man, who we find out later is a local doctor and friend, in what we later find out is the south of France. She asks him to guard the paintings for her, as they are her life, almost literally, given their content. The narrative then jumps to Berlin, to a young Charlotte trying to comfort a woman who is ill and sad. The woman turns out to be Charlotte’s mother, who dies, the young girl is told, of influenza.
Jumping ahead, still in Berlin, Charlotte’s father, Albert, has married Paula Lindberg, an opera singer, through whom, incidentally, a teenage Charlotte meets her first love, Alfred Wolfsohn, who is a singing teacher. He is also a veteran of the First World War.
Wolfsohn has a lot of personal issues, to say the least, and he ultimately betrays Charlotte, but he is also strongly supportive of her being an artist. While she gains entrance to Berlin’s art academy, despite being Jewish – it is 1933 and the Nazis are now in power – she is expelled pretty soon thereafter, though whether that’s because of her nonconformity to the artistic norms taught at the school, her Jewishness or both, is not clear.
What is certain is that, after Kristallnacht, the violence against Jews in Berlin has become unavoidable and Charlotte’s parents send her to the south of France to take refuge, and care for her maternal grandparents. Her grandmother is a troubled woman and her grandfather is, in a word, an asshole, but Charlotte finds beauty in her friendship with a wealthy American, Ottilie Moore, who owns a villa in Villefranche, and in her relationship with fellow refugee Alexander Nagler, whom she marries eventually.
In a scene from the film, Charlotte stares into the water, thinking about her aunt, who had drowned.
When Moore returns to the United States, she offers to try and take Charlotte and Alexander with her, but they stay in France – Charlotte because of her sense of duty to her grandparents. It is in caring for them that she witnesses the tragedy of her grandmother’s suicide and finds out from her grandfather that mental illness runs in the family, having claimed the lives of Charlotte’s mother, aunt and several other relatives.
Spurred on by the potential that she, too, will fall ill, as well as by the Nazis’ proximity, Charlotte turns her focus to creating the almost 800 paintings that comprise Life? or Theatre? She manages to give them (and other works, it seems) to Dr. Georges Moridis, who she had consulted about her own health and who had tried to help her grandparents, before she and Alexander are seized by the Nazis. Both Charlotte and Alexander are killed at Auschwitz; Charlotte five months pregnant.
The film, which isn’t shy about showing some of the brutality of the Holocaust, does step back from showing the deaths in Auschwitz, leaving viewers instead with an image of the idyllic setting in which they lived in France, as we hear the noises of their arrest, then silence.
Before the credits, the filmmakers tell us what happened to Charlotte, Alexander and Ottolie, and show us clips of a real-life archival interview with Charlotte’s father and stepmother, who survived the Holocaust, as well as a sampling of Charlotte’s paintings.
As depressing as Charlotte’s story is, it is not a depressing movie. That she anticipated her demise and created an artistic legacy in the face of death is somehow uplifting. As producer Julia Rosenberg states in the film’s production notes, “… hope isn’t rainbows and unicorns. It’s finding the courage to see beauty despite suffering.
“Charlotte Salomon’s ability to do just that is exceptional and inspiring.”
Indeed, it is.
Charlotte is a worthy introduction to a person we all should know.
For the full Vancouver International Film Festival schedule and tickets, visit viff.org. To potentially get free tickets to the Oct. 6 screening of Charlotte, email editor@jewishindependent.ca. Tickets will be available as supplies last (there are 10 to giveaway).
JQT Vancouver executive director Carmel Tanaka at the Zack Gallery, where the Chosen Family exhibit is on display until Sept. 30. (photo from Carmel Tanaka)
In a Simon Fraser University survey of more than 4,000 elderly Canadians (55+), conducted from August to October 2020, to see how people were coping with the pandemic, about 10% of respondents identified themselves as part of the LGBTQ+ community. These respondents were more likely to follow COVID protocols and to have said they “feel they have been here before” – they were 10 times more likely to report experience with HIV/AIDS than heterosexual persons. Among the many other findings, LGBTQ+ respondents were less likely to ask relatives for help, but more likely to call upon close friends.
In the context of the pandemic, then, the focus of the new exhibit at the Zack Gallery has added significance. The show, called Chosen Family, is a multimedia partnership between the gallery and JQT Vancouver in honour of Vancouver Pride. It opened officially on Aug. 26, with the artists in attendance.
JQT (Jewish, Queer and Trans) is an arts, culture and education nonprofit organization. It is dedicated to creating connections and seeking space to celebrate the intersectional identities of Jews of diverse sexual orientations and genders. The organization’s executive director, Carmel Tanaka, said JQT’s members are accomplishing their goals “by queering Jewish space and ‘Jewifying’ queer space in Vancouver.”
“We started JQT in Vancouver four years ago, as a grassroots movement, everyone was a volunteer,” Tanaka told the Independent. “We incorporated as a nonprofit in 2020. This show feels like a milestone. It is probably the first exhibition here, at the Zack Gallery, that features exclusively queer Jewish artists.”
The theme of the show, Chosen Family, reflects that some LGBTQ+ individuals face rejection by their immediate family and must look elsewhere for understanding and acceptance. “I’m lucky,” said Tanaka. “I didn’t have to look for another family; my family was supportive. Unfortunately, that’s not true for everyone.”
One of the images in a series of six by Ari Fremder.
Only a few artists are featured in the exhibit. “We invited more artists from the JQT community, plus their families, to submit art for the show, but not everyone was easy with the invitation,” Tanaka said. “Some didn’t feel ‘artistic’ enough. Others didn’t feel Jewish enough. Still others – the older people mostly – didn’t feel entirely safe to identify themselves as queer to the wider community. It is an ongoing vulnerability issue with many of us.”
Another reason might lie in the location of the gallery. “The Zack Gallery is inside the Jewish Community Centre, so the art must be family friendly. That might be a limiting factor for some artists,” Tanaka mused. “We might look at another venue next time.”
The show includes art in a variety of media: paintings, prints, textiles, cinematography, sculpture. A series of six pictures by Ari Fremder all have the same size and structure – a human face surrounded by flowers – but they centre on different faces, representing different friends or family members, and have varied arrangements of flowers. Nonetheless, they all have one thing in common – they are all beautiful and upbeat.
Two of Fremder’s paintings are self-portraits. One looks like a face in repose; the other an angel with black wings. The angel soars in the dark sky and, unlike the six-photo series, this image is moody and contemplative.
A collage by artist Holly Steele.
On another wall, there are several paintings by Holly Steele. In one, a multimedia print, hands clasp together in various combinations: hands of friends and hands of family, interspaced with positive, trust-affirming words. The image, done in a muted greenish-yellow palette, screams of the yearning for acceptance.
In the centre of the gallery resides a sculptural composition by Morgan Strug. A dinner table with chairs around it shows us what a family meal means to the artist. There is understanding and affection there, benign teasing and fierce joy in the others’ fulfilments. Is it wishful thinking? Is it the artist’s reality? Everyone can decide for themselves.
Strug is the director of the short movie Enby, which screened at the Vancouver Queer Film Festival earlier this month, and the film is part of the Zack exhibit. The gallery planned three screening dates, the first being for the exhibit opening Aug. 26, as well as Sept. 9 and Sept. 30. Those who want to see it should contact the gallery first.
“This is a very eclectic show,” Tanaka said. “It is the first art show for several of the participating artists. Some of them celebrate both their identities: as a queer and as a Jew. We would love this show to become an annual tradition.”
Chosen Family continues until Sept. 30. To learn more, visit jqtvancouver.ca.
Olga Livshinis a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
In Bayla’s Issues, the title character is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.
Bayla’s Issues, a 2020 animated short based on the comic strip Bayla’s Comics by Vancouver artist Hinda Avery, has been making the Jewish film festival circuit, with a recent stop in Washington, D.C. The 15-minute film, which follows the story of its title character and her quest to be recognized as an artist, was directed and edited by Victoria’s Michael Kissinger, and is voiced by Ellen Kennedy and animated by Marty Emanuel.
Divided into eight chapters, Bayla’s Issues delves into the inner thoughts – a turbulent sea of doubts, fears and anxieties – of its heroine and her conversations with an expensive and expletive-laden therapist, who is neither encouraging nor helpful.
The character of Bayla came into being after Avery retired from her career in academia. At the time, she wanted to do two things: return to painting after a long break and establish a means of connecting with family who died in the Holocaust.
“Clearly, the only way for me to make this connection would be through an imaginary process, and painting seemed a tangible tool,” Avery told the Independent. “I decided to paint myself with my late mother and, with the help of only two motley photographs, my murdered aunt and grandmother. This would suffice as a way of spending time with them.”
Avery’s mother had left Poland before the start of the Second World War, but was severely traumatized by the murder of her family by the Nazis.
“The atrocity affected both her mental and physical health; her trauma was passed down to me, hence my close connection to the Holocaust,” Avery said.
Over time, in a process that began in 2005 and lasted 13 years, Avery was able to separate herself from, as she puts it, “an overt depiction of the Holocaust experience – an event too catastrophic for me to depict using conventional representation – and instead depicted it as a phantasmagoric event. I added more women and called us all ‘The Rosen Sisters.’” Rosen was her mother’s family name.
The paintings feature strong, confident women resisters in situations that are both humorous and dark. Avery found it therapeutic and liberating “to fight the Nazis in this vicarious method.” Still, she said, “beneath the surface of all the paintings, the calamity and horror of the Holocaust is ever present.”
In Bayla’s Issues, Bayla must deal with her past.
When the paintings, in her view, had run their course, she was “desolate” and expressed this by drawing a comic about a befuddled, unfulfilled older Jewish woman who is plagued by the travails of aging and anxiety, and a desire for acknowledgement in the art world.
“In many of the comics, Bayla expresses her angst about being Jewish. Her Jewishness has never been a joy for her. In one of the comics, she says it feels like a huge lead-heavy Star of David, attached to a thick chain-link, hanging from her neck – it weighs her down, she can’t pull it off,” said Avery.
Kissinger’s collaboration with Avery can be traced to 2015, when he served as the editor of the now-defunct Vancouver Courier. “She left a message on my work phone about an upcoming art exhibit of her paintings and I, of course, never returned her call…. But she left another message, and another message,” Kissinger recounted.
“We didn’t do a lot of art exhibit coverage,” he explained. “But, for some reason, I decided to Google her name and up came these paintings of elderly women in bikinis holding automatic weapons and swearing and taking down Hitler and having a great time while they were at it. From that point on, I was in.”
Kissinger went on to write a story and created a five-minute video to accompany it on the newspaper’s website.
Hinda Avery’s cartoon strip has been transformed into film about an “‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons.”
A year later, Avery reached out again – this time to share that she had obtained a Canada Council grant and to ask Kissinger if he would be interested in making a documentary about her, her paintings, and her journey in dealing with the Holocaust and depression.
A 27-minute documentary, Hinda and Her Sisterrrz, ensued. That 2018 film screened at a number of Jewish film festivals, including those of San Francisco, Toronto, Boston, Vancouver and Victoria.
“The documentary ends with Hinda talking about retiring the characters in her paintings and moving on to working on a comic strip about an ‘old, neurotic Jewish woman’ who wants to be an old, famous painter, but is hampered by her own demons,” said Kissinger.
“Because I know Hinda’s work and backstory and she trusts me with it and was happy with the documentary, she asked me if I could help her animate her comic strip,” he added.
“Bayla lends herself to being animated. I love seeing her come alive!” Avery said.
The original strip, Bayla’s Comics, appeared in Jewish Currents. More episodes about Bayla’s tribulations – under the title Bayla’s Got Problems – are currently underway.
Suzy Birstein in her studio, with works featured in her solo exhibit Tsipora, now at the Zack Gallery. (photo from Suzy Birstein)
Suzy Birstein’s Hebrew name – Tsipora – means bird. The artist’s new show, Tsipora: A Place to Land, which opened at the Zack Gallery on May 20, expatiates on her name’s meaning and its connection to the winged creatures of the sky.
“I love feeling like an exotic bird,” Birstein told the Independent. “I like bringing colour and joy to the people who visit my shows.”
Birstein’s art is bursting with bright hues and glitter. Both her sculptures and her paintings seem to aspire to one purpose only: to instil gladness in people’s hearts, which feels especially important during COVID and all its associated hardships and anxieties.
“The show’s idea was born out of a personal tragedy,” said Birstein. “A few years ago, one of my close friends passed away. I grieved but I knew I didn’t really lose her. She stayed right there, always with me, like a bird on my shoulder, and I thought: what a wonderful concept. I decided to create a series of sculptures of women, with birds incorporated into the whole in different ways.”
Almost every sculpture in the show has a bird. Sometimes, it is a tiny golden bird peeking from behind a woman’s shoulder or hiding in her skirt. Sometimes, it is an elaborate hair ornament. And, sometimes, it is implied rather than shown. But the idea of a bird is always there.
“When I started this series in 2017, my thoughts were all about freedom and travels – flying like a bird,” Birstein said. “I’ve always liked to travel and visited many countries: Europe, Asia, Mexico. I like seeing something new every day.”
Accordingly, the first few sculptures of her new series were reminiscent of her travels, their dark texture a reference to the ancient sacred sites she had visited. Their diaphanous tutus a playful metaphor of dance and flight, a symbol of the weightless grace of a ballerina.
“In 2020, I was planning to travel to the south of France, with a show scheduled in Cannes, when the pandemic hit, and all travel stopped,” Birstein said. After that, the focus of her art changed, becoming more home-oriented.
“Instead of flight, my sculptures became about nesting,” she said. “I couldn’t teach anymore because of the pandemic, didn’t teach for a year due to the school closures, so I took the opportunity and the time to indulge in self-exploration. I asked myself: what is beautiful? And my answer was: birth. And rebirth. Each sculpture I made during that time was of a pregnant woman. Not flights anymore but home and harmony.”
Many sculptures also have mirror fragments embedded in them, making them festive, shining. “The mirror shards help me bridge the inner world of a woman, her home and soul, with the outer world of traveling and flying,” Birstein said.
The show includes not only sculptures but several paintings as well. “The sculptures always come first,” she explained. “They are inspirations for my paintings. After a sculpture is ready, I sometimes paint it: like another version of the sculpture, an exploration of a unique perspective. It is a different experience – working on a flat surface with no fear of breaking the fragile pottery. I don’t use a brush. I paint with a tiny palette and my fingers. It feels almost like working with liquid clay.”
Clay was the medium that catapulted her into the art world, and she feels a deep affinity for it.
“When I was a child,” she recalled, “I couldn’t draw realistically. I thought I couldn’t be an artist. I danced and I modeled for artists. I was about 22 when I started working as an artist model full-time for an art school in Toronto. The administration of the school offered me any art classes I wanted for free, and I decided to try pottery. Clay spoke to me. I also took up weaving and fibre art and liked it. Later, when we moved to Vancouver because of my husband’s work, I wanted to take more art classes. There was no fibre art school at the time, but I enrolled in Emily Carr as a sculptor. They accepted me on the basis of my portfolio – the pieces I created in Toronto.”
Birstein uses white clay for her pieces and paints them before she fires them. “Sometimes, this process has several iterations,” she mused. “I paint the sculpture. Then I fire it, but firing is unpredictable. Colours might burn out or melt into each other in unexpected ways. Then I paint the piece again, maybe add some elements. Fire again. Some pieces take five or six times in the kiln before I know they are ready, but I don’t do perfect. I make mistakes sometimes and then play with my mistakes. I love quirkiness and imperfections.”
It helps that she owns her own kiln. “My kiln is in my basement,” she said. “It was a wedding present from my parents. They knew pottery made me happy.”
It is significant that the most important tool of her art was a gift to celebrate her family.
“I feel free like a bird in my art, but only because I have such strong support from my husband,” said Birstein. “I have stability in my life, a safe place to return, a secure home, and that allows me my freedom of artistic flight.”
That’s why the only image in the show with a man in it is her husband’s portrait.
“I was looking at all those sculptures and paintings of pregnant women in this series and thought: who made them pregnant? There must have been a man,” she said.
“It depicts my husband and my art,” said Birstein of the portrait painting, which features a man standing beside a sculpture of a pregnant woman.
The show Tsipora runs until June 27. In addition to being able to book a walk-through of the exhibit with the gallery, people can arrange a personalized tour with the artist via her website, suzybirstein.com, or by calling her at 778-877-7943.
Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
“Sometimes Being Human … Can Be Hard” by August Bramhoff.
The Jewish Community Centre of Greater Vancouver’s inclusion services’ third annual art exhibit at the Zack Gallery is on display this month. And people can meet the artists at a March 23 virtual reception.
“For the last two years, the JCC has celebrated Jewish Disability Awareness and Inclusion Month through an art exhibit that interrogated and explored themes of community longing and belonging,” Leamore Cohen, inclusion services coordinator, told the Independent. “We asked artists of mixed ability: How do we make meaning of the concept of community, the real and the imagined spaces we inhabit? What does community longing look like and what are the possibilities for belonging in an ever-changing world?”
This past year, the world has changed almost beyond recognition. “In Vancouver, we are nearing a year since the COVID pandemic shut down our city and transformed all aspects of our social world,” acknowledged Cohen. “However, while we were isolated, we also saw our creativity flourish.”
In the two previous exhibits, artists responded enthusiastically to inclusion services’ challenge, unfolding a fascinating slice of society through their art, and both shows were successful, well-attended cultural events. Unfortunately, the pandemic has moved most of our interactions online, and so it is with this new show, though it is also available to view in-person by appointment.
The participating artists are of differing abilities and artistic levels, so the artforms vary. There are paintings and multimedia collages, figurative and abstract imagery, landscapes and still life. Some pictures are disturbing in their naked emotional pain. Others are quietly sad, or funny, or absurd. One thing is universal: the artists’ willingness to express their feelings, both in their art and in words, as each piece is accompanied by its creator’s short writeup.
It is impossible to mention all 57 pieces on display, but here are a select few to represent this multifaceted show.
August Bramhoff’s painting “Sometimes Being Human … Can Be Hard” depicts a woman sitting, alone. She is sewing or knitting. The painting’s muted colours permit no joy. There is obviously no one there with her, even beyond the edges of the painting. The woman’s isolation and loneliness are palpable despite the spare simplicity of the image.
The artist wrote about his painting: “My main practice is analogue photography, with a focus on street photography…. This is the first painting I’ve created in over 10 years. The inspiration for this work is from a feature film. It captures the sense of longing and displacement we all seem to be juggling during the COVID shutdown.”
In contrast, Tracy-Lynn Chernaske’s “Whispers” is a dreamy landscape. The moon shines over the night forest and a trail of shiny fog weaves its way between earth and sky. Maybe it is just the weather. Or maybe the fog illustrates our mutual desire to connect with one another. Maybe it is a whisper of our souls.
The artist explained: “Community is … a place and a way to tell stories and journeys so they can be witnessed, heard and held. They are a way of bonding together … and the need to push away and seek out new and more fitting spaces.” According to Chernaske, we all nourish “the invisible threads of relationships that cross borders, land, sea and time.”
In Evelyn Finchman’s “Roots” – an abstract composition in the earthy colours of brown and beige – interconnected spirals, lines and shapes allow the viewer’s imagination to stir. Is it food? Is it a surreal terrain? A carpenter’s schematics?
“Belonging to a community is much more than interacting with our societies and being accepted by our peers,” mused Finchman. “This year, I realized how important it is to coexist within the nature that surrounds us…. There is no human life if we don’t respect all living beings on our planet and understand that we are part of the whole environment.”
“Roots” by Evelyn Finchmann.
Another artist who touched on the theme of nature and its connection with humanity is Peggy Logan. Her painting “Flowers Adrift” shows single blooms, all different – a tulip, an orchid, a daffodil, a daisy – but all similarly pale and faded, bobbing on the blue background. The image seems dejected and symbolic.
“The piece of work I have created,” said Logan, “is about that sense of disconnection that exists now with friends and family with restrictions on travel, social distancing, and isolating inside. This image is about the lack of roots the flowers have as they float over the water via the internet.”
Symbolism is also the main approach of Theresa Moleski in her painting “Life In and Beyond our Bubble.” The painting is dark, almost black and white. A tree is imprisoned inside a sharply delineated bubble, striving to get free. But there is something vaguely optimistic outside the bubble, too. And the artist expressed herself in no uncertain terms in her writeup: “COVID or not, I will continue my journey as an artist!”
While most of the images in this show are serious in tone, a few offer a humorous slant on our very human follies. Danielle Haslip’s painting “First Date Red Flags” is a tongue-in-cheek exploration of dating. Its style – childlike and undeniably funny – includes a figure with lots of teeth. You see it and you know: something is gonna bite.
“Reflecting on my own personal growth, as I wait for conditions to be safer for meeting people, I thought I’d be cheeky and depict an exaggerated vision of dating, in which we can either fall prey to manipulative people, who mean us harm, or attempt to force a connection with someone who is not a good fit for us,” wrote Haslip.
Another smile-inspiring work is Paul Leighton’s “Not Over the Moon Yet.” On the painting, a sad cow is floating on a cloud. Or is it an island? The style is two-dimensional, but the meaning is much deeper. Is the poor cow attempting to fly away from stupid humans? The artist thinks so: “My approach to the theme of longing and belonging is to use oblique humour to ponder unfathomable human global problems through the lens of the preposterous…. An individual, no matter how earnest, can’t solve all the interrelated problems of the Anthropocene or rescue a cow fleeing into the clouds,” said Leighton. “However, social pressure and citizens’ assembly can help.”
“Not Over the Moon Yet” by Paul Leighton.
And then there are paintings like Gail Rudin’s “Home is Where the Heart Is.” Folk art in style, it is heart-warming in its essence. It reminds all of us of the importance of home.
The show is on display at the gallery until April 2. To view the exhibit anytime or attend the March 23, 5 p.m., reception, visit jccgv.com/community-longing-and-belonging.
Olga Livshinis a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
Yvette Gagnon holds one of her works. (photo from Yvette Gagnon)
Yvette Gagnon, a local French-Canadian multimedia artist, uses a unique technique: she combines acrylic paintings with mosaics. The glass shards she glues to her canvasses create a three-dimensional effect, while supplying a glittery, festive atmosphere for every one of her joyful images. Her flowers wink and grin at you. Her trees hang over your head, their dense foliage providing shade from the sun and homes for the birds. Her works, decorative and bright, infuse many local homes with her enthusiasm and imagination.
In a recent interview with the Jewish Independent, Gagnon reminisced about how her artistic path began.
“My grandmother lived next door to my family when I grew up. She was always creating something, and I loved that she always included me in her little art projects,” shared Gagnon. “One morning, I remember running in our backyard and I was blown away by the wildflowers that had opened over the night. I ran to my grandmother’s house, to her craft room, and, with an idea in mind of what I was going to recreate, I started to work. When I was done, I was so proud of myself for having created something so beautiful on my own.”
Completely self-taught, creativity runs in her family. “My parents were very creative,” she said. “They didn’t call themselves artists. My father was a carver. My mother sewed all the clothes for our family. I believe my artistic gift came from them.”
Gagnon has worked different jobs over the years, some art-related, some not, but her creativity was always present, always illuminating her life. She was a painter before she started using glass.
“When my kids were growing up, I created a lot of folk art. It was popular in the ’70s,” she said. “Then, I gradually progressed to teaching myself trompe l’oeils and started painting murals for my clients.”
The idea of using glass in her paintings came when she was working as a home and office decorator. “It happened about 30 years ago,” she said. “I was picking up glass shelves for a client and I found myself looking at tons of shattered glass on the ground in the shop’s backyard. I thought to myself: what can I do with this stuff? I asked the owner if I could take some, and he said, yeah sure. I took bags of glass home, washed it, put it in my closet, and started dreaming how I could create with it. Later, I used the glass to make large pieces for my clients. I think this technique has endless possibilities.”
Gagnon’s method lends itself beautifully to various art styles and themes. One of the pieces she produced recently was “The Tree of Life” for Jewish community members Irv and Betty Nitkin.
She originally met them not through her art but through Jewish Family Services. “I worked for JFS for three years, and my specialty was cooking. That’s how I met Irv and Betty Nitkin,” she explained. “I’ve been cooking for them once a week since the beginning. They have become like family over the years. They knew I was passionate about my glass art and they commissioned me to make ‘The Tree of Life’ for them.”
Trees and flowers are common features in Gagnon’s art. She loves gardening, and her garden is a constant source of inspiration. She has created a large series of painting dedicated to flowers.
Another inspiration is traveling. For years, she took in foreign students. “I was a ‘host mom,’ and kids from all over the world stayed with me,” she said. “They came from South America, Germany, France, the U.K. Long after they returned home, I might call them and say: I’d like to visit for a week or two. We made great memories during those visits. Not only did I get to see my ‘kids’ again, but I also met their parents. Those trips were fun.”
“French Cottages” is artist Yvette Gagnon’s most recent series. (photo from Yvette Gagnon)
One of her latest trips – to France – inspired her latest series of paintings, “French Cottages.” A former home-stay invited Gagnon to visit them. “I spent a month in France. We walked around and talked. On the weekends, we drove to garage sales in the old villages. I went nuts taking pictures of the old architecture. Later, I couldn’t believe how many photos I took there. I photographed doors, windows, stairways and flowers. When I looked through those pictures after I returned home, I thought they were gorgeous. They reminded me of what I experienced there. I decided to base my newest series on them.”
Of course, the pandemic put a stop to other travel plans, but Gagnon hopes the situation will change soon. “I’d like to go to Thailand,” she said. “They have amazing art and nature. Maybe I would find my next series there.”
COVID also disrupted her exhibition prospects, as it did for the majority of artists. “Right now, my only exhibit is at Hollyburn Country Club, but, unfortunately, only members are allowed in,” said Gagnon. “The other exhibits were recently taken down. With COVID, it’s really hard. I feel it is artists’ biggest challenge now: finding venues for our art. But I’ve been invited to display my glass art in virtual galleries in New York, London and South America. And, of course, the hallway in the building where I live, off Commercial Drive, has many of my pieces.”
In all her paintings, Gagnon uses exclusively clear glass. “I never wanted to use coloured glass – I paint over the glass or leave it as is, especially on the black background. It all depends on my muse,” she explained. “Glass gives texture and depth to my pieces. They become more realistic with it.”
In the past, she could get all the broken glass she wanted for free, but that is no longer the case. “Now, for whatever reason, they don’t give away broken glass anymore,” she said. “I have to buy sheets of glass from a company in Abbotsford and then I break them up myself. I use every fragment of glass, large and small. I’m frugal this way. My parents and grandparents would be proud of me. I learned my frugality from them. I don’t waste anything.”
More often than not, the sizes and shapes of the glass in her storage bins direct her next painting. Wherever her glass leads, she follows.
Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.
Sorel Etrog’s sculpture in Odette Sculpture Park, in Windsor, Ont. Etrog was one of four artists featured in Prof. Jennifer Eiserman’s March 7 lecture, Is There Such a Thing as Canadian Jewish Art? (photo by Matt Glaman)
Is there such a thing as “Jewish art” in Canada? Dr. Jennifer Eiserman explored this question in a March 7 Zoom lecture organized by Victoria’s Kolot Mayim Reform Temple.
Eiserman, an artist and an art professor at the University of Calgary, shared some of the preliminary findings of her investigation. She pointed out that, with respect to the concept of “Jewish art,” she was not referring to Judaica or Jewish themes in art. “I’m curious about whether artists with some kind of Jewish background make art that is qualitatively different from other artists. If so, I am interested in how these Jewish artists speak and think Jewishly,” she explained.
She began by providing a background to Canadian art history and, specifically, how it has been taught. There has been a profound shift, to put it mildly, in focus, she said. Prior to 1990, the study of Canadian art was a colonial one, concentrating mostly on male artists of European descent. Now, the works of women, Indigenous people and others are part of the curriculum.
Eiserman then discussed four artists and how they speak both Jewishly and as Canadians. She started with sculptor Sorel Etrog (1933-2014) and his contribution to Canadian Modernism. Etrog was a Romanian-born Holocaust survivor who spent time in Israel before immigrating to Canada. His biography is one of movement from place to place.
“The way I see Etrog speaking Jewishly is through the tension between tradition and innovation and the notion of interweaving roads, the idea of the new, which occurs in Etrog’s work,” Eiserman said.
His work, she added, also speaks Jewishly, in that it maintains certain core principles of the genre of public sculpture while addressing the contemporary context in which the sculpture is being placed. Just as we place Jewish law from generation to generation into contemporary contexts, Etrog’s art innovates while carrying on traditional elements.
The figurative art of Betty Goodwin (1923-2008) was demonstrated as being the work of “an outsider, someone not part of the Old Boys’ Club and one who had to find her own way.” Her work, according to Eiserman, contributed internationally to how drawing was defined and what it was to become.
“Her floating figures might express the experience of being in a world that does not welcome one’s experience. The experience of being neither here nor there. Her work speaks to the experience of losing and finding,” Eiserman noted.
Sylvia Safdie’s video installations of flowing water, sand, light and sound advance the traditional concerns of Canadian art with landscape and nature, most commonly associated with the Group of Seven. Safdie was born in Lebanon in 1942 and her family moved to Montreal in 1953.
Safdie’s video can be perceived as exploring a variety of themes that allow her to bring her own voice into the world. “Her work is part of a post-colonial narrative in which some people have experienced harm as the nation of Canada came into being, and speaks Jewishly of the central issues of living in the Diaspora – how to adapt and yet maintain our identity,” said Eiserman.
The distinctively Jewish fantastical creatures of sculptor David Altmejd (born 1974), who represented Canada at the Venice Biennale in 2007, were the final set of slides shown by Eiserman. She described Altmejd as the “quintessential 21st-century Canadian artist. He is bicultural, multilingual, internationally known and now lives in another country (United States) yet is still deeply rooted in Canada.
“Life is complicated, Altmejd reminds us, we can’t have the good without the bad. Yet, always in his work, life shines through. While he rarely discusses his Jewish roots … one can see that his works speak Jewishly in many aspects,” Eiserman said.
Growing up in Montreal, Eiserman experienced the national influence that the Saidye Bronfman Centre had in disseminating Canadian Jewish art. She received her bachelor’s in art history and master’s in education through the arts at McGill University in Montreal, and a bachelor’s in fine arts (visual art) at the University of Regina in Saskatchewan. Her doctorate, one of the first to use studio art as its method of inquiry, is from the University of Calgary, where she is now an associate professor. Her current research is in North American contemporary Jewish art and community-based Jewish art.
In her artistic endeavours, Eiserman uses mixed media, crochet, watercolour, installation and public art projects to explore issues related to Jewish theology, philosophy and identity. She refers to her work as “visual Midrash, an artistic response to sacred Jewish texts.”
Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.
