Megs Gatus’s solo exhibit, Leaves in Space, runs until Sept. 22 at the Zack Gallery. (photo from Megs Gatus)
Megs Gatus – whose solo show, Leaves in Space, opened at the Zack Gallery on Aug. 24 – unexpectedly stumbled onto an artistic path.
“It started for me when I saw a photograph of a butterfly,” she said in an interview with the Independent. “It was in 2010. I was fascinated by that picture. I thought maybe I could be a photographer too.”
She had never taken photos before that day. She came to Canada in 2002 from the Philippines and worked (and still works) for the City of Vancouver. “But there is a creative gene in my family,” she said. “My brother is a contemporary dancer. My sister sings. I decided I wanted to be a photographer.”
In 2011, Gatus signed up for a photography workshop at a local community centre. “I bought my first camera from Craigslist,” she recalled. “It was only a hundred dollars.”
After that, she started taking photos. Portraits, flowers and landscapes were among her favourite subjects.
“I joined an online photography group on meetup.com because I wanted to share my pictures with the others,” she said. “I was amazed when the group picked my photos to display on their website. It was so encouraging. Later, a friend told me I had an eye for composition. I was elated. I wanted to learn more about the photographic art, so I enrolled in the Emily Carr certificate program, evening classes.”
She kept up her daytime job through it all, even as she graduated from Emily Carr University of Art + Design in 2018.
“I never stopped taking photos,” she continued, “but, by that time, I stopped being interested in reality photography. I didn’t want my photos to reflect the objects by themselves, the way they are off camera. I wanted people to see my photographs as an art form, different from reality. I wanted my pictures to invite curiosity in viewers.”
Gatus began experimenting with her camera settings. She also tried to move the camera while taking the photos, and the results meshed perfectly with her artistic vision. No recognizable objects manifested in her images when she used the technique called intentional camera movement, combining it with multi-exposures.
Each image is a play of colours and patterns, abstract and bright. The lines and the colours dance together in her photographs, which look more like paintings. She seems to invite viewers to use their imagination, while she herself explores every possible hue and shape to convey her ideas. Her camera is her paintbrush. “I do everything inside my camera. No Photoshop,” she said.
In 2016, Gatus joined Photoclub Vancouver. Since then, she has participated in many of their group exhibitions, including those the group held annually at the Zack Gallery. She liked the energy of the gallery, so, a few months ago, put forward the idea of a solo show and it was accepted.
“This is my first solo exhibition in a gallery space,” she said. “But I had a show recently in the Britannia Art Gallery, together with another photo artist, and I often display my works in several coffee shops.”
“Edges” by Megs Gatus.
Gatus created all the work displayed in the current show during the pandemic. “We all felt so isolated, but we all occupy the same space. We are all responsible for our environment: plants, leaves, flowers. That’s why I used the shape of a circle,” she explained. “I took photos of nature: autumn leaves and spring flowers, and the circles enclose them. The circles symbolize all of us. That’s what the name of the show means: Leaves in Space.”
No image in the show looks like a standard photograph. One doesn’t see leaves or trees, but rather abstract compositions throbbing with life and fantasy. They could be science fiction illustrations of distant galaxies, visual representations of a soul or screenshots from a computer game. Or just beauty emerging from the artist’s insight.
“I like taking photos of organic matter. Leaves, plants, flowers – they are all alive,” she said. “I take photos in parks and gardens around B.C. I only enhance the colours a little inside the camera. Through my technique, the images become abstract, and I try to find ways to present them differently. I want to engage viewers.”
Besides the images hanging on the gallery walls, Gatus also offers large silk scarves for sale. All the scarves are imprinted with the photographs she used in the exhibit. The same swirls of colours in a different medium look surprisingly different, almost unrecognizable, but still pretty and vibrant.
“Sales are not my motivation,” she said. “I want to show my pictures, to share them with people.” That’s why she enjoys commissions. “A client of mine liked one of the pictures in this show so much, she asked me to enlarge it and she put it in her spa office.”
Gatus has big plans for these works after their run at the Zack Gallery.
“I’d like to exhibit this collection in other B.C. cities: Surrey, Port Moody, Langley. Later on, maybe even in Toronto and Montreal. I’m going to retire soon, and then I will dedicate all my time to my art.”
Leaves in Space continues until Sept. 22. The official opening reception will be held at the gallery on Sept. 8, at 7 p.m. To learn more, visit the website megsgatus-abstract.myportfolio.com.
Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].
Leamore Cohen (photo by Efrat Gal-Or Nucleus Photography)
The Jewish Community Centre of Greater Vancouver’s inclusion services program is one of the recipients of the Lieutenant Governor’s Arts and Music Awards, in the category of visual arts. This one-time honour, marking the Queen’s Platinum Jubilee, recognizes organizations like the JCC that have excelled in fostering wide community engagement through a robust spectrum of arts and culture programs. Most important: the award emphasizes the JCC’s commitment to diversity and inclusivity.
It all began with a passionate letter of nomination by Chaia Schneid, whose daughter, Sarah Halpern, discovered “a previously untapped creative passion” in the Art Hive and Theatre Lab classes she attended, among other programs run through the JCC’s inclusion services. Writing to the Hon. Janet Austin, lieutenant governor of British Columbia, Schneid stated: “The quality of the arts and culture programs is unlike anything we have found elsewhere. They are professionally delivered and of the highest calibre, and yet individualized to meet the special needs of the diverse participants.” In particular, Schneid praised the JCC’s annual Jewish Disability and Awareness Inclusion Month (JDAIM). Schneid also praised current program director and inclusion services coordinator Leamore Cohen, calling her a “rare individual.”
Shelley Rivkin, vice-president, local and global engagement, at the Jewish Federation of Greater Vancouver wrote a letter of support for the nomination. In it, she highlighted several inclusion services arts and social programs, and Cohen’s leadership.
“Leamore Cohen is the driving force behind these programs and her compassion, creativity and commitment to inclusion shine through in all aspects of the program,” wrote Rivkin. “She is always generating new ways and ideas for participants to engage with the arts and to create to the best of their abilities. These programs break new ground by offering meaningful educational and recreational opportunities for people with diverse needs. Having had the opportunity to attend some events, I have seen firsthand the joy that participants feel in being able to express themselves in a variety of mediums and the pride that their parents and family members experience when they see the creativity and talent of their loved ones.”
For a growing number of Vancouverites from all religious and ethnic backgrounds, and across all ages and abilities, the calibre and range of the JCC’s work is well-known. A schedule of performing and fine arts programs coincides with an array of sport, leisure and fitness options inside a facility that houses a theatre, library, gymnasium and pool. The JCC is also widely known for its annual Jewish Book and Chutzpah! festivals – both occupying a key place in the city’s cultural calendar – alongside community services including preschool and toddler daycare.
“While the arts programming is the centrepiece of what is being offered,” wrote Rivkin, “other inclusion programming for adults includes free memberships and access to all the fitness and wellness facilities at the Jewish community centre along with two virtual classes offered five days a week that are designed to be sensitive to the sensory stimulation needs of participants.”
Noting that activities continued throughout the pandemic, Rivkin concluded, “the program demonstrates its dedication to equity and inclusion daily by the range of programs embedded in the arts that have been opened up to this population and, of course, commitment, both on the part of Leamore Cohen, who dedicates so much time and thought to designing these programs, and to the participants themselves, who have remained active and involved despite their personal barriers and the COVID restrictions.”
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MP Joyce Murray, left, with Annette Whitehead at Trimble Park, June 18. (photo courtesy a community member)
On June 18, Annette Whitehead was awarded a Queen’s Platinum Jubilee pin by MP Joyce Murray. Whitehead was nominated for the honour by Kitsilano Community Centre for her outstanding commitment and dedication to her community. She also received a certificate as a sign of gratitude for all the wonderful and hard work she does for her constituency.
June 2022 marked the 70th anniversary of the coronation of Queen Elizabeth II. To commemorate this milestone, Murray was issued a number of Platinum Jubilee pins, which she decided would be best used to celebrate and thank those who volunteer in Vancouver Quadra. The ceremony took place at Trimble Park.
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On July 7, the National Audubon Society announced the winners of its 13th annual Audubon Photography Awards. This year, judges awarded eight prizes across five divisions from a pool of 2,416 entrants from all 50 states, Washington, D.C., and seven Canadian provinces and territories.
Local Jewish community member Liron Gertsman won three awards:
Professional Award Winner for his photo of a white-tailed ptarmigan,
Professional Honourable Mention for his photo of a sharp-tailed grouse, and
Video Award Winner for his sharp-tailed grouse video.
In a July 7 Facebook post, Gertsman writes about his wins: “Getting a chance to shine some light on these often under-appreciated birds brings a big smile to my face!”
He also writes about the white-tailed ptarmigan:
Liron Gertsman’s Audubon Photography Award-winning photograph of a white-tailed ptarmigan, titled “Mountain Chicken.”
“Perfectly adapted to harsh alpine conditions, they spend most of their time foraging on small plant matter in the tundra, insulated from the wind and cold by their warm layers of feathers. Ptarmigan are also famous for changing their feathers to match their snowy surroundings in the winter, and their rocky surroundings in the summer. This mastery of camouflage makes them very difficult to find, and I’ve spent countless hikes searching for them, to no avail. On this particular day, after hiking in the alpine for a couple of hours, I stumbled right into my target bird! This individual was part of a small group of ptarmigan that were so well camouflaged, I didn’t notice them until some movement caught my eye just a few yards from where I was standing. Wanting to capture these remarkable birds within the context of their spectacular mountain domain, I put on a wider lens and sat down. The birds continued to forage at close range, and I captured this image as this individual walked over a rock, posing in front of the stunning mountains of Jasper National Park.”
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At the Rockower Awards banquet, held in conjunction with the American Jewish Press Association’s annual conference, June 27, 2022, in Atlanta, Ga., the Jewish Independent received two Simon Rockower Awards for Excellence in Jewish Journalism. These awards honoured achievements in Jewish media published in 2021 and there was a record-breaking 1,100-plus entries from AJPA members.
In the news story category, in the division of weekly and biweekly newspapers, the ˆI took second place for Kevin Keystone’s article “What constitutes recruiting?” The piece explored the allegation by a coalition of foreign policy and Palestinian solidarity organizations that Canadians are being recruited for the Israel Defence Forces.
For excellence in editorial writing, in which all member papers competed, the JI editorial board of Pat Johnson, Basya Laye and Cynthia Ramsay received an honourable mention, or third place. “Strong reasoning and writing, relevant to Jewish audience,” wrote the judges about the trio of articles submitted. The submission included “Ideas worth the fight,” about university campuses and the need to keep “engaging in the battle of ideas, however daunting and hopeless the fight might appear”; “Tragedy and cruelty,” about the response to the catastrophe at Mount Meron on Lag b’Omer in 2021; and “Antisemitism unleashed,” about how the violence in Israel in May 2021 year spilled out into the world with a spike in antisemitic incidents.
To read all of these articles again, visit jewishindependent.ca. For the full list of Rockower winners, check out ajpa.org.
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Myriam Steinberg’s Catalogue Baby: A Memoir of Infertility, with illustrations by Christache, has won two gold medals for best graphic novel. The first was the Independent Publishers (IPPY) Awards, and the second is the Foreword Indies Award. This is after having won the Vine Award for Canadian Jewish Literature last fall.
“This book was not only a labour of love, but also a call-out to the world to recognize and acknowledge the very real experience of so many people,” wrote Steinberg in an email. “Pregnancy loss and/or infertility touch almost everyone in some way or other. It affects those who are trying to conceive the most, but it also touches (often unbeknownst to them) their children, friends, family and colleagues.”
To celebrate the honours, Steinberg is offering a 20% discount on books bought directly from her (shipping extra). To order, email [email protected].
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Ben Mink (photo from sonicperspectives.com)
The Vancouver Symphony Orchestra (VSO) and the VSO School of Music (VSO SoM) are excited to recognize the appointment of Ben Mink, CM, as a Member of the Order of Canada. On June 29, 2022, Governor General of Canada Mary Simon announced that Ben Mink, who is a member of the board of directors for both the VSO and VSO SoM, has received the distinction “for his sustained contributions to Canadian music as a producer, multi-instrumentalist and writer.”
Mink has amassed a critically acclaimed body of work spanning decades, styles and genres as an international musical force. His influence is tangible and enduring in the widest range of musical styles and directions, and his imprint can be found in countless recordings, film scores and television programs. As a producer, songwriter, and instrumentalist, Mink has brought his signature style and approach to major musical artists and productions. He has an impressive list of recording collaborations that include k.d. lang, Rush, Daniel Lanois, Roy Orbison, Elton John, Alison Krauss, Heart, Feist, the Klezmatics, Wynona Judd, Method Man, James Hetfield (Metallica), and many more.
He has been nominated for nine Grammies, winning twice for his work with k.d. lang. The song “Constant Craving,” which he co-wrote and produced with lang, won her a Grammy for best female pop performance and has been used in several TV shows.
In 2007, he was co-nominated for his work on Feist’s Grammy-nominated “1234,” which gained global popularity in the roll out campaign for the iPod Nano. His recent collaborations with Heart were Billboard hits. Mink’s work helped set new and significant directions in Canadian popular music, and his writing and producing has been recognized with seven Juno nominations (three wins) and the SOCAN Wm. Harold Moon Award for international recognition.
Reesa Steele and family have the absolute pleasure to announce the upcoming marriage of Talia Magder and Weston Steele on Sunday, July 24, 2022, under the chuppah in front of family and friends in Vancouver.
Mazal tov to Nicole and Philip Magder of Montreal and Reesa Steele and David Steele of Vancouver.
Mazal tov to Talia and Weston. May this be the first of many simchas ♥
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Emmy nominee Molly Leikin is the author of Insider Secrets to Hit Songwriting in the Digital Age, published by Permuted Press, a division of Simon & Schuster, in July 2022. It is Molly’s eighth book.
“Remembrance” by Michael Shevloff. Part of PhotoClub Vancouver’s Connections exhibit at Zack Gallery until June 27.
Whenever a photographer – amateur or experienced – snaps a picture, they establish a connection between themself and their subject. They shout to the world that this image at this time and in this place is an important occurrence and should be preserved and treasured.
The PhotoClub Vancouver group show, Connections, opened June 2 at the Zack Gallery. People and birds, industrial cityscapes and soothing nature shots, close-ups and panoramas – every image in the exhibit tells a story about the world and the photographer’s place in it.
The club was officially established in 1998. Its friendly, non-competitive environment for photographers of all skill levels encourages members to develop their technical and artistic abilities through various activities, including peer critique, field trips, workshops and seminars. And, of course, exhibitions like Connections, which allow members to share their art beyond the group.
Some of the photographers took the Connections theme literally, like Ivor Levin’s “Roped In.” The orange ropes in the image are taut and sure, but the objects they hold together are left outside the frame. Only the connection itself is important to the artist.
A similar approach characterizes Lynn Copeland’s “Cranes and Planes.” The image’s graphic simplicity is almost abstract, as the harsh lines of the industrial cityscape, viewed on the background of the distant sky, induces the sense of a steel labyrinth where any uninitiated human would be lost.
Barb Kaiser’s “Hanging Around” also includes ropes as the connecting medium, but the feeling it inspires is vastly different. A window washer hangs in his harness in the foreground, doing his job. Behind him, a skyscraper-studded panorama of North Vancouver is visible in all its urban majesty. We are all connected, the image seems to say, in every window of every building.
Unlike the stark, sharp-angled industrial imagery, logical and attractive on a cerebral level, the pictures reflecting nature flaunt softer lines. They appeal to our emotions. For example, Terry Beaupre’s “Canada Geese Flying Off Together” depicts two geese. Their dark silhouettes soaring together on the background of a pink sunset evoke ideas of love and companionship. “I couldn’t have asked them to pose more perfectly for me,” Beaupre says in her artist’s statement, although she admits that she painted the dramatic colours of the sunset later on, to enhance the picture.
Terry Beaupre’s “Canada Geese Flying Off Together.”
The grace of a couple in love is also implied in another bird picture – Levin’s “Peck.” The two doves in the image are sharing a kiss. Or maybe they are sharing a bug to eat. Whatever they are sharing, their affection for each other is unmistakable and heartwarming.
The charm of the loving doves is absent in Drago Tutnjevic’s “Bus Stop.” The four people standing in line to board a bus are strangers. Their estrangement is made even more obvious by the fact that three of them are absorbed in their phones. The one not on the phone looks straight ahead, thinking her own thoughts. No doubt, each of the passengers has multiple connections – their friends, family and others – but here, at this bus stop, nothing connects them except the expectation of the bus itself. The photo reflects the complex networks that link us all, as well as the separateness of every person in our huge technology-permeated world.
In contrast, a simple path in the park, portrayed in John Konovsky’s “Onward No Matter What,” reminds us of the mysteries of childhood adventures and the romantic wandering of our youth.
Another image reminiscent of the joy of childhood is David Beaver’s “Balloon Man.” Even in black and white, the man holding bunches of balloons in both hands brings to mind birthday parties and vacation frolicking. The photo is part of the club’s Henry Ballon B&W Challenge.
“Line S” by Ivor Levin.
An entire wall of the gallery is reserved for the black and white photographs, by different photographers, all parts of the challenge, which was started in 2015 in memory of the late Henry Ballon. Ballon was an avid monochrome photographer and advocated photography with minimum retouching by any software. Club members honour Ballon by creating their own art using his principles. The photos demonstrate how deep the artists can reach, even if their expression palette is limited to the gradations of black and white.
But the most visceral and poignant image in this exhibition is “Remembrance” by Michael Shevloff. A mother crouches beside her young daughter in front of a staircase. Their backs are to the viewer. They face the stairs together, just like everyone who looks at this photograph. And on the stairs reside memories. Toys. Shoes. Hats. Books. No people. What does this young mother tell her child? Who were the owners of the objects on this staircase? What happened to them? Where? When? The photograph raises many questions, and all of them remain unanswered – unless the artist decides to answer them, which Shevloff did.
“The photo was taken at the Vancouver Art Gallery, where there was an outdoor installation commemorating the discovery of the unmarked graves found at a residential school recently. It affected many people and brought a dark period of history to light. Flags were lowered across Canada for many months.
“I took the photo on July 1st of 2021. Normally on Canada Day, there are parades and many people celebrating our history. However, last year, with the pandemic and the dark events I mentioned above, it seemed like no one was celebrating our national day.
“In the photo a woman is talking to her child. In my mind, I tried to imagine how she would be explaining the memorial and the events surrounding it to her daughter. Just as the memory of the dead children is elicited by the installation, the mother and child are also photographed from behind and also remain nameless in time.”
Connections is on display until June 27. For more information, check out photoclubvancouver.com.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
“At Rest” by Dov Glock, mixed media. Glock is one of several Jewish artists participating in this year’s West of Main Art Walk. (from artistsinourmidst.com)
The West of Main Art Walk Preview Exhibition and Sale kicks off at the Roundhouse Community Centre May 18-19. The West of Main Art Walk itself welcomes guests into artists’ studios May 28-29. Among the artists participating are many from the Jewish community, including Michael Abelman, Olga Campbell, Dov Glock, Pnina Granirer and Lauren Morris.
The preview – which is open for visitors 10 a.m. to 9 p.m. both days – features a reception at the Roundhouse on May 19, 7-9 p.m. Preview visitors will be able to buy the work of some of the 80 local artists taking part. There will be paintings, ceramics, jewelry, textiles and photography, as well as free art demos.
Artwork will also be for sale on the walk, which includes studios from Point Grey to Main Street, and from Granville Island to 41st Avenue over the May 28-29 weekend. Dozens more artists are showing their works all under one roof in larger hubs like Aberthau Mansion, Art at Knox and Pacific Arts Market. There, you’ll also find art demonstrations and more. At Lord Byng Mini School for the Arts, you’ll discover young emerging artists.
Also part of the month’s events is the annual (since 2018) Art for All Fundraiser. More than 70 artworks have been donated – and all are on sale for $50 each. Proceeds will go to the art program at Coast Mental Health. Its resource centre’s art room opened in 2000, and is a place where clients discover their creative potential while developing new ways of expressing emotions, healing pain and growing their self-esteem and self-awareness. Supported by volunteers – including clients and professional artists and art instructors – who give their time, feedback and encouragement, clients are able to work in a number of media, including paint and sculpture; supplies are provided. An annual art show brings together the artists, other resource centre members and Coast clients, family and friends and the general public to celebrate their work and their journey towards recovery.
Granirer, who was a co-founder of the very first open studios walk in Vancouver in 1993, is doing something a little different from the main event. On May 18, 7 p.m., at the Roundhouse, she is launching her poetry-art memoir, Garden of Words. (For more on the book, see jewishindependent.ca/poetry-and-painting-flourish.) Some of the paintings featured in the book will be exhibited and the books will be available during the whole time of the preview and at Granirer’s studio during the walk weekend.
Pnina Granirer in her studio. (photo from Pnina Granirer)
During the walk, Granirer is inviting people to her studio, where she will be offering her works for 50% off, with proceeds being donated to Stand up for Mental Health, which has helped people suffering from mental health issues to do away with stigma all over Canada, the United States and Australia.
Artists will be opening their studios from 11 a.m. to 6 p.m. on May 28 and 29. This is a unique opportunity to meet the artists, enjoy the art and ask questions. More information and the interactive online map can be found at artistsinourmidst.com.
– Courtesy Artists in Our Midst and Pnina Granirer
Ande Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. (photo from Zack Gallery)
The current show at the Zack Gallery, Affordable, opened on Nov. 17. It delivers on its name’s promise. Every item on display is less than $250 and thus in the realm of affordability for many people, not just art connoisseurs.
“That’s what I wanted for the Zack Gallery from the beginning,” said gallery director Hope Forstenzer. “I wanted to deepen the involvement of the JCC community in the gallery, wanted the art within people’s reach.”
Accordingly, this show looks more like a holiday craft fair than a high art exhibition.
“I don’t believe in the separation of art versus craft,” said Forstenzer. “For me, craft is another word for art, but art that is functional and affordable, designed for enhancing your life and your home rather than a wall of a museum. I hope we can make such a show an annual event.”
To achieve the artisan market feel, Forstenzer invited 10 artists in different media to participate. “They are all local B.C. artists,” she said. “Some Jewish, some not. I wanted to cater to different tastes, to represent different artistic fields. I wanted the show to be fun.”
Ceramics by Hitomi McKenzie.
The atmosphere of the show is jazzy and welcoming. The giclée prints of well-known Vancouver artist Linda Frimer glow with greens and blues. The glass and jewelry twinkle. The ceramics by Hitomi McKenzie stand proud and bright. Mariana Frochtengarten’s colourful shawls in Shibori patterns add a touch of elegance.
Frochtengarten teaches textile art at the Jewish Community Centre of Greater Vancouver. “This is a great opportunity for me to show the community my personal work,” she said. “My work is based on the principles of Shibori – a Japanese manual tie-dye technique. I combine the ancient Japanese tradition with a contemporary approach.”
She works with natural fibres, mostly cotton and linen, and has been working as a textile artist for more than 25 years. “My way into textile art was a bit accidental,” she told the Independent. “I was born in Brazil. When I was in high school, I took a batik class for a hobby, but I fell in love with it.”
After graduating from high school, she studied at Fine Arts and Education University in Brazil and later completed her master’s in fine arts (textiles) at Nova Scotia College of Art and Design, in Halifax. “For 17 years, I worked with batik,” she said. “I had a business in Brazil and sold my works in stores, galleries, shows and fairs. I also experimented with some Shibori. I slowly moved on to my own form and interpretation of Japanese Shibori after moving to Canada in 2006. I love the elements of surprise involved in the process of Shibori and I am fascinated by the idea of creating different designs by blocking areas of the fabric before dyeing it.”
Another artist who works with an unusual material and technique is Ande Axelrod. Her company, Treats Designs, produces whimsical and sophisticated tagua jewelry: necklaces, earrings, pendants, and bracelets. Axelrod is very enthusiastic about her artistic creations. “Tagua is known as ‘vegetable ivory,’” she explained. “The tagua palms are native to the rainforests of Ecuador and other South American countries. The nuts grow and harden inside their seedpods. Some tagua nuts can grow up to six centimetres. Once the seedpods are ripe, they’re picked, and the seeds are dried in the sun, peeled and polished.”
The creamy white substance of the nuts is incredibly hard, similar to elephant ivory, hence the name. According to Wikipedia, a mature tagua palm can produce up to 20 pounds of vegetable ivory a year.
“Tagua nuts have been used as a substitute for ivory since the early 20th century,” Axelrod said. “The local masters carve the nuts into a variety of beads and buttons and dye them using bright natural colours.”
Mariana Frochtengarten shows of one of her colourful Shibori shawls.
She is thrilled to use tagua nuts as the base for her jewelry. “I worked as a graphic designer for more than 25 years. In 2011, a friend and I took some jewelry making classes and I explored a variety of media and techniques. The next year, I discovered tagua while traveling in South America. I was dazzled by the colours, and I loved how light and comfortable the pieces were. You could wear a bigger statement necklace or a pair of earrings and not have a sore neck or headache at the end of the day.”
The sustainability and eco-friendliness of tagua sealed the deal for her. “I wanted to save elephants and I was truly inspired by the vast creative potential of this versatile natural material. It also provides an economic incentive for the local communities to protect the rainforests,” she said.
Since then, Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. “Before COVID, I’d made annual visits to Ecuador each February. It gave me the opportunity to work with tagua throughout the process, from seed to bead. Of course, like everyone else, I’ve had to improvise these past two years. Zoom, WhatsApp, FedEx and Western Union have enabled me to stay in touch with my South American partners and get tagua here for me to create my jewelry.”
While Shibori scarves and tagua jewelry may more easily be thought of as unique artwork in the Vancouver context than photography perhaps, Michael Shevloff proves that he is an unquestionable master of the camera, producing his own singular creations. His images, both in colour and in black and white, are statements of his love for British Columbia: its forests, its mountains, its waterways, its streets.
“I do predominantly nature photography,” he said. “However, I also shoot street photography, portraits, and many other genres, both digital and film.”
For this show, Shevloff offers framed and matted photos and photo coasters. “In the past, I also produced books of my photos, collages, cushions and more. I even put one of my images on my phone cover. The choices are many, and there are online firms, as well as local places, that specialize in putting images on almost any surface.”
He has been taking photographs since he was a teenager. “That was a long time ago,” he joked. “I have albums filled with photographs from places I have worked and traveled throughout the years.”
For Shevloff, photography has always been a hobby, while he worked in information technology. It remains a hobby in his retirement, although he obviously has more time now to immerse in his artistic endeavours.
“Tropical Vancouver,” by Michael Shevloff.
“I have taken classes with professional photographers to hone my craft. And I belong to two photo clubs in Vancouver,” he said. “Vancouver PhotoClub is a well-organized group with monthly meetings and outings. I enjoy being a part of that club because they have assignments, which gives me a challenge and focus each month. They also organize exhibits, which gives me an opportunity to show my work.”
He belongs to the West End Photographic Society, as well. “That one is dedicated to film work and darkroom processing,” he explained. “They also organize exhibits. I enjoy the challenge of working with film and working with prints.”
The 10 artists of this show incorporate different art forms, different artistic philosophies, different ethnic roots and different price ranges. But one fact unites them all – every piece of art in the gallery for the next month is affordable.
The exhibit continues until Dec. 31.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
Photographer Dina Goldstein and Myles Peterson, one of her model-collaborators, at Goldstein’s OG Punk exhibit, which is at the Polygon Gallery until Jan. 2. (photo by Dina Goldstein)
Walking past the Polygon Gallery in North Vancouver, it is hard not to be drawn to the photographs adorning the walls. The powerful portraits of self-described original – OG – punks were taken by Jewish community member Dina Goldstein, whose work is known for its thought-provoking social commentary.
The exhibit OG Punk is on display at the gallery until Jan. 2. Curated by Helga Pakassar, it comprises portraits of major figures from the punk rock scene in Vancouver and Victoria, which were taken by Goldstein over the past year. It is accompanied by an audio guide written by author Michael Turner.
Turner notes, “Goldstein gave her model-collaborators little instruction on what to bring to their shoot, apart from their ‘leathers.’ As for poses, these too were left to the model-collaborators, though it should be noted that the poses chosen for display, as portraits, were decided by Goldstein and exhibition curator Helga Pakasaar.”
“I met some of my model-collaborators by chance around my neighbourhood,” Goldstein told the Independent. “They are artists, musicians and punk devotees; most of them over 50, in punk regalia, hairdos, piercings and tattoos. I was excited by their stories and memories of their time as punks during the late ’70s, ’80s and into the ’90s. There was a vibrant punk scene in Vancouver and Victoria, with local bands, like DOA, incorporating activism and social commentary into their music.
“I have always been attracted to individualism – those who openly express themselves, are unconventional and live an authentic existence,” she said. “Some of the punks were ailing and not well. Some key figures had already passed. Most recently, the iconic Chi Pig, who passed a couple of years ago. I felt an urgency to document this generation of local punks. The project evolved into a series when I was able to collect a good amount of participants.”
Among the participants featured are Murray “The Cretin” Acton, Myles Peterson and wendythirteen. Goldstein sent out questionnaires to better understand the participants. Turner discusses some of the responses to the questions – such as “Has punk changed much since the 1980s?” and “Is punk here to stay?” – in the audio guide, the script of which can be found at mtwebsit.blogspot.com/2021/11/og-punk-2.html.
Though none of the model-collaborators to date are Jewish, Goldstein noted that she “will be continuing to photograph more people for this series in January.”
As for what punk means to her, Goldstein said, “I have always been rebellious. I am non-conventional and have a DIY mentality. My photography requires critical thinking and is a form of activism. My art has been described as satirical, irreverent and subversive.
“As one of my model-collaborators Lisa Jak said and I totally agree: ‘Anywhere and anytime that there is oppression, ignorance, intolerance and f–king stupidity – some punk will be there to question and fight it!’”
For anyone who has thought about publishing their own story, poems, photos, artwork – really, anything they have created – The Gate and Other Poems on a Life’s Journey (FriesenPress) should be an inspiration to just do it already.
This book of poetry by Winnipeggers Doug Jordan, with editing and photography by my cousin Sidney Shapira, is a wonderful example of what we are capable of creating when we stop thinking about maybe doing something and act. It also affirms the benefits that can be reaped by working with someone on an endeavour, not only for encouragement but for holding ourselves accountable to whatever vision we may have, and bringing it out of our heads and into being.
In Shapira’s introduction, he acknowledges that Jordan’s target audience for this collection is his family, friends – in particular, friends who had also lived on the Shilo army base, near Brandon, Man., as kids – and former students. While this is probably the audience who will most revel in this publication, there are poems that will speak to everyone, about love, work, grief and other universal themes. They date from 1965 through to 2021.
Shapira has thoughtfully chosen photos of his that would complement various poems – all in black-and-white, to match the sombre mood of Jordan’s writings. The collection doesn’t leave readers in a sombre mood, however, perhaps because of the rhyming, which may not suit everyone’s tastes. Jordan explains his choice in a note at the end of the book:
“I enjoy poetry that rhymes and has rhythm,” he writes. “It is easier to read. Most poets prefer a form of free verse and their message is completely lost to many of their readers as they try to uncomplicate the poet’s words. This is when, as a teacher, we often hear ‘I hate poetry.’ No wonder. They can’t understand it, and don’t get me going on Shakespeare and others of that ilk.
“I say, if you are a poet and have a message or a story to tell, try do so in its most understandable terms.”
But don’t confuse rhythmic with simplistic. As Shapira notes, “Doug’s poems never meet his own standards after one draft; for example, ‘The Streets of Copenhagen’ took 10 years to achieve ‘finished’ status.”
The Gate truly represents a journey – one to which all of us can relate.
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.
Micah Groberman with his son, Evan. (photo by Micah Groberman)
The current photography exhibit at the Zack Gallery, Discoveries: A New Way Forward, allows visitors a peek into the wilderness of British Columbia. A bird serenades the sunset. A bear crosses a road. A coyote glares into the camera. Even a Whistler bridge seems to lead to an adventure in the forests and mountains of our province. The photographer, Micah Groberman, talked to the Independent about his art and how the pandemic set him on his new creative course.
“Before the pandemic, I had a business with a partner, Ivan Solomon. We did many different things, but mostly we designed wall murals for children’s stores, hospitals and private clinics,” said Groberman. “After the pandemic hit, we couldn’t do it anymore, couldn’t stay inside the enclosed spaces for the long time it takes to create a large mural. Many places closed. School was canceled. I had to stay at home and take care of my sons.”
Micah Groberman’s photo of a hummingbird feeding her babies was featured on CBC.
For Groberman, instructing his elementary school sons from a set curriculum was frustrating. “I’m not good at math,” he joked. So he found something else to do with his boys. He shared his passion for nature with them. They went for walks in local parks. And they took photographs.
“I started taking photos when I was about 9,” Groberman recalled. “It was with a simple camera, the point-and-shoot kind. I enjoyed it and did it for a long time, simply for myself and my family. During COVID, my photography took a more serious turn. I wanted to do it well. I wanted to learn. I watched videos on YouTube. You can find all sorts of useful tips online. I got myself some professional gear, a large camera. And I took photos. Many, many photos. I learned by doing.”
Groberman classifies his images into three categories: landscape, wildlife (which includes all his animal and bird shots) and fine art. The last category is the most inclusive. It overlaps with landscape and boasts some unusual shots, like a PNE ride from a rare angle or an old pickup surrounded by flowers that displays an uplifting message in its cargo bed.
Micah Groberman took this photograph last year at the Richmond Sunflower Festival.
“I took it last year at the Richmond Sunflower Festival,” Groberman explained. “The organizers put the old truck among the flowers, and I thought it looked interesting.”
Many of his images, especially of wildlife, are fascinating because he has sought them out. In addition to artistic skill and adequate hardware, nature photography requires a great deal of perseverance and patience. Groberman has both.
“The bear that crosses the road – I took this picture from my car,” he said. “We were in Whistler, driving around, looking for bears. It took us three hours, until one walked out of the woods.”
Another of his amazing wildlife shots is a coyote on a piece of driftwood. “I noticed him hiding in the bushes on the other side of a stream in Richmond. I followed him for about five minutes, with only glimpses, until he came out and stared at me. I took the shot, but I was glad there was water between us.”
While taking his own photos, Groberman tried to share his knowledge with his sons. “My younger son wasn’t that interested,” he said, “but my older son, Evan, took to photography. I taught him, and he inspired me. Many of my photos in this show I took when I was with him. I think teaching him made me a better photographer.”
Groberman hadn’t ever exhibited his photos prior to the pandemic. He had never even thought about doing so. “It was just a hobby,” he said. “But, in 2020, I participated in a group show at the Zack. A couple of my son Evan’s photos were also on display. That’s how I first met Hope [Forstenzer], the gallery director.”
It took a few hours of searching before Micah Groberman came across this bear and took its picture.
According to Groberman, the current show was supposed to be a double feature, including a sculptor as well. “But the sculptor didn’t happen,” he said, “so it became my solo photography show. There are 37 images in the show: 30 are mine, seven are Evan’s. We have a show together.”
The name of the show – Discovery – came from the experiences shared between father and son. “Our walks together were bonding,” said Groberman. “We discovered things together. Evan discovered new skills. I discovered a new way to move forward and I discovered teaching. That’s where the name of the show came from.”
Groberman hopes that his wall mural business will recover once the pandemic ends, but he also sees several new avenues for his creativity.
“I want to do more with my photography,” he said. “I’m exploring different options, trying to establish myself locally. I went to stores to offer them prints of my photos and postcards. I rented a bunch of my prints to a movie set. I entered local contests. One of my photos – a mama hummingbird feeding her babies – was featured on CBC. Another – a photo of a heron – won the Richmond banner contest last year in the nature category. You will see my heron on the streetlights in Richmond. I have an Instagram account. I’m just starting with photography, but I want to see where I can end up.”
Discover opened on Oct 4 and runs until Nov. 7. Learn more about Groberman’s work at micahgphotography.com.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
I was very much looking forward to two recent novels. Both are love stories, but unconventional ones. I enjoyed them, and read them cover to cover – generally, I allow myself to stop reading, watching or listening to whatever it is I’m not enjoying, so that I wanted to know how the stories ended is a compliment to the writers. But I was disappointed in the novels, ultimately. In both instances, I felt a little robbed of emotional impact.
Perhaps, given their protagonists, I shouldn’t have been surprised that the cerebral aspects of the books would outweigh, even quash, the heart-rending effects. Morningside Heights by Joshua Henkin (Pantheon Books, 2021) is about an uber-accomplished, hyper-intelligent professor who is struck by early-onset Alzheimer’s. Never Anyone But You by Rupert Thomson (Other Press, 2020) is about two real-life cultural icons who were in the same social circles as people the likes of Ernest Hemingway and Salvador Dalí.
Love faces adversity
Within the first 20 pages of Morningside Heights, I didn’t particularly like either Prof. Spence Robin or his wife, Pru. He is an all-star academic, winning awards and grants of all sorts; he has ambition and has achieved some power in his world, and carries himself as such. He is Jewish but changed his name early in life, “to escape the Lower East Side.” He is Pru’s teacher, though only six years her senior, and downplays her concerns of being seen on campus as just his girlfriend, not as a person in her own right. And it is only after he semi-proposes that he tells her he has a sister with brain damage, who he visits rarely, and that he’d been married before and has an estranged son from that marriage.
For her part, Pru lets Spence get away with all these things. Worse, she abandons her own beliefs and dreams, basically, to be with him. For example, she keeps kosher before she meets him and in their early days together, but lets that go by the wayside. She has her own promising career that she gives up because her own areas of interest overlap with his award-winning expertise. He lets her become his shadow. He lets her main purpose become supporting him, while not reciprocating or appreciating that support at all, it seems.
So, it’s hard to empathize with the individual characters when their lives are completely upturned by Spence’s Alzheimer’s, which begins to affect him in his late 50s. That said, one doesn’t wish ill on anyone. The challenges both Spence and Pru face are severe, and Henkin brilliantly communicates the difficulties on both sides. Spence’s confusions and his not being able to understand fully the state he’s in are as heart-wrenching as his strong will and refusal to step down from work or admit his frailties are frustrating. Pru’s sadness at the loss of her partner and the heavy responsibilities of caring for him are palpable.
Perhaps the weight of these feelings and circumstances is part of what inspired Henkin to give – in my opinion – too much ink to Spence’s troubled son. Spence and Pru’s daughter Sarah doesn’t figure as prominently, but a lot of time is spent on Arlo and, in some respects, Arlo allows readers to get to know more about Spence. But those story threads interrupted, for me, the potential intensity of the Spence-Pru storyline, which, I have to admit, was both a relief and a letdown. I wasn’t surprised that Henkin has personal experience with dementia. In an online interview with the publication Shelf Awareness, he shares, “Although much of Morningside Heights is invented, it is, in many ways, my most autobiographical novel to date. My father, like Spence, was a professor at Columbia who developed Alzheimer’s, though my father developed it much later in life than Spence did. In writing about the ways Pru lost Spence, I was re-experiencing my mother’s loss, and my brothers’ and my loss.”
The rawness of that real pain is tempered in the novel, perhaps out of personal necessity. And perhaps most readers will appreciate that emotional distance, but I was hoping for a more intimate portrayal.
Not-so secret love
Never Anyone But You also lacks intimacy, even though it is about Suzanne Malherbe and Lucie Schwob, who fall in love and become both personal and professional partners. Thomson writes about the real-life French artists in a somewhat didactic and distanced way. He has done all his research but never fully inhabits or gives full life to his characters, who must have been quite passionate and committed people to have accomplished what they did under the circumstances in which they did it.
The women knew each other from childhood but end up becoming stepsisters when Lucie’s father (who was Jewish) connects with and eventually marries Suzanne’s mother (who was Catholic). Suzanne is immediately captivated by Lucie when they meet more formally; Suzanne is almost 17 years old and Lucie a couple years older than that. Never Anyone But You is told from the perspective of Suzanne.
Early on, the two decide to collaborate – Lucie’s words and Suzanne’s drawings. Lucie transforms herself into Claude Cahun before Suzanne reinvents herself as Marcel Moore. But the new persona cannot heal Claude’s bouts of depression and, throughout her life, she struggled to stay alive.
Claude and Marcel were unofficially (because they weren’t men) part of the Surrealist scene in 1920s Paris but their artistic (notably, photographic) success was tempered by the Second World War. They leave Paris in the late 1930s and take refuge in Jersey, where they use their talents to unsettle and educate the Nazi soldiers who occupied the island from 1940. It was their hope that their leaflets would demoralize the soldiers, and even cause some of them to desert. Marcel was fluent in German, so they could make the subversive material appear as if it were coming from one of the soldiers. Eventually, the two would be discovered and arrested. Though they would suffer imprisonment, they survived the war.
The bravery of Claude and Marcel is remarkable, as is their dedication to each other, though Claude is depicted as being unlikeable at times, between her mental health issues and her being more fluid with her sexuality than Marcel, ie. she had other relationships. Nonetheless, for Marcel, there was never anyone but Claude, though it is difficult to see why there was such devotion and loyalty on her side, and Thomson’s novel doesn’t answer that question. Ultimately, the two were together for more than 40 years, until Claude’s death in 1954, so there was, I guess, really never anyone but Marcel for Claude, either.
