textiles

Art for wide variety of tastes

Margaux Wosk makes pins, magnets, necklaces and other items. (photo from the artist)

Last year’s Affordable Art Show at the Zack was such a success that the gallery is repeating it in 2022, just in time for the winter holidays. Gallery director Hope Forstenzer hopes it will become an annual tradition.

Everything in the show is less than $250, and the selection is wide enough to appeal to a variety of tastes. The participating artists are a mix of repeat appearances and newcomers. Some of the newcomers have exhibited in Zack group shows before. For the others, this is their first event at the gallery.

Margaux Wosk is one of the new artists. Their company, Retrophiliac, produces pins, magnets, necklaces and other items, many of which are priced below $20.

“I’m an autistic, self-taught artist, designer, writer, entrepreneur and disability advocate,” Wosk said. “I have been a ‘retrophiliac’ for a long time. I am inspired by retro and vintage styles, but I also want to celebrate neurodiversity.”

In addition to their company’s distinct merchandise, Wosk creates vibrant, retro-inspired paintings and mixed media work. “I hope to break down barriers and eliminate the stigma of neurodiversity,” they said. “With my art, I want to open a dialogue about what autistic and disabled people are capable of.”

Aimee Promislow, another new artist, works with glass. Her company, Glass Sipper, produces reusable drinking straws. “I met Hope [Forstenzer] a number of years ago,” she told the Independent. “We were both members of the same glass co-op. When she joined the Zack Gallery, she began reaching out to me for various events and shows. Last year, I participated in the Hanukkah show here. I’m excited to be part of the Affordable Art Show this year.”

photo - Aimee Promislow works with glass, making reusable drinking straws — Aimee Promislow works with glass, making reusable drinking straws. *(photo from the artist)*

Promislow summed up her creative path and why she chose it. “I have always, since a young age, dabbled in art,” she said. “My mother is an artist, Nomi Kaplan. She had introduced me to various art forms. After high school, I tried pottery, then glass enamel, then I played with resin. Eventually, about 15 years ago, I started melting coloured glass. I love colour and I love watching things form in fire. Glass is hard when cold, but, once heated, it is malleable, and I love moving it around.”

At first, Promislow made glass beads and sculpted little animals out of glass: dogs, cats, turtles. “At the same time, our family enjoyed smoothies,” she said. “The kids wanted straws for their smoothies, but the only smoothie straws I could find were plastic ones.”

Concerned about the environment, she combined her passion for glass with her care for nature. “I had a ‘eureka’ moment,” she recalled. “I realized that, instead of making glass beads, I could make reusable glass drinking straws and decorate them with my tiny creatures. That night, Glass Sipper was born.”

She also makes glass mezuzot and yads (the pointers used to read Torah). “They are perfect gifts for bar and bat mitzvah,” she said. “And everything I make is under $100, ideally suitable for the Affordable Art Show.”

Another glass artist in the show is Sonya Labrie. Her company, SML Glassworks, produces vases and other elements of home décor, as well as jewelry. “I’ve always created pieces that could be in anyone’s home,” she said. “The idea that art is to be loved and available to everyone in our community is very important to me.”

With such a mindset, when Forstenzer invited her to participate in this show, Labrie’s answer was an unequivocal yes.

“I started working with glass in 2005,” she said. “The first glass class I attended was at Red Deer College in Red Deer, Alta. Then I went on to complete a three-year advanced diploma in craft and design at Sheridan College, majoring in glass. I’ve also had the opportunity to study glass at the renowned Pilchuck Glass School in northern Washington.”

photo - Glass artist Sonya Labrie creates vases and other elements of home décor — Glass artist Sonya Labrie creates vases and other elements of home décor. (photo from the artist)

Labrie said she can’t imagine her life without creating beautiful things out of glass. “My body of work includes blown glass, flamework and kilns-cast items,” she elaborated. “Glass has endless possibilities, it is a challenging medium, and I keep discovering new ways of working with it.”

She also teaches glasswork for the Vancouver School Board. “I teach students grades 8 to 12 and I teach continuing education workshops for adults at the Terminal City Glass co-op.”

Unlike these company-owning creators, fibre artist Deborah Zibrik doesn’t consider herself a full-time artist. Not yet.

“I am a registered dietitian,” she said. “I’m still working part time, finishing a career that started in 1975. I will retire soon, after a research project at the B.C. Children’s Hospital Research Institute is completed. Until then, I simply don’t have enough time each day to work as a full-time artist. However, I consistently carve out ‘me time’ every day to complete some stitching. Ideas are constantly percolating in my head. Typically, many pieces are framed up or in the sketchbook phase at any one time. Perhaps the best descriptor for me is a part-time artist.”

Zibrik makes elaborate embroidered pieces. Some of them are like miniature tapestries, landscapes emerging out of fabric and threads. Others are tiny blossoms, beetles and butterflies that could be used separately or together, each one a delightful surprise. She also does golden embroidery.

“Smaller pieces are often whimsical and stitched quickly, with a minimum of stitches. On the other hand, my gold work requires hours to complete, and the materials are much more costly.”

Zibrik started learning needlecraft when still very young. “Like many girls growing up in rural Canada, I was taught by my mother and grandmother. They wanted to make sure I had all the critical homemaker skills, from crocheting blankets to mending socks…. Later, after 10 years of part-time study at Gail Harker Creative Studio, I completed Level 2 Design (based on a City and Guilds of London Institute in the U.K. curriculum) and Level 4 Diploma for stitch. Luckily for me, the studio is located in La Connor, Wash. That made it possible for me to attend sessions in-person to complete the evidence-based curriculum.”

photo - Fibre artist Deborah Zibrik makes elaborate embroidered pieces — Fibre artist Deborah Zibrik makes elaborate embroidered pieces. *(photo from the artist)*

After receiving her diploma in 2015, Zibrik decided to share her skills with others. “Time permitting, I have been teaching workshops for specific needlework techniques,” she said. “Guild members are my usual students. There is currently a discussion among the guilds about the lost generations of children who haven’t learned any of the needle arts, including embroidery; they haven’t had the exposure. Because of that, membership in the guilds is declining, as members age. I am considering ways to fix that. Perhaps I could offer embroidery classes to youngsters, maybe at the community centre level, to teach basic skills and prime creativity to future artisans.”

When asked where they see themselves on the scale of art versus craft, artists’ replies varied.

“I’m an artist and a designer,” said Wosk.

Promislow said, “I am a craftsperson. I use my medium to make things that are functional and beautiful.”

“My work rides a fine line between both,” said Labrie. “There is a fluid movement in my practice.”

“My personal journey suggests that, especially for women, craft and art are inextricably linked,” offered Zibrik. “More, they have been connected for thousands of years. They are but different places on the same continuum. In that sense, I am privileged to say: I am an artist.”

The Affordable Art Show continues until Dec. 30. And, if you’re visiting the exhibit Dec. 5-7 or 12-14, check out the Jewish Community Centre of Greater Vancouver’s Chanukah Marketplace, which takes place in the centre’s atrium.

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

Art of unweaving as midrash

“Romemu” by Laurie Wohl.

Laurie Wohl’s “unweavings” are currently on display at the Zack Gallery, until Nov. 8. The exhibit, Journeys, features two of the New York artist’s collections: the Shabbat Project and the Meditation Project.

“By unweaving the fabric, I make manifest what is hidden within the material – liberating the threads to create shape, then ‘reweaving’ through colour, texture and text,” says Wohl in her artist’s statement.

“My unweavings process came out of my concern with narrative and storytelling,” she told the Independent. “I began as a painter on stretched canvas over 30 years ago, but I came to feel that painting on a flat, rigid surface felt static – distancing me from my materials and my stories. So, I began experimenting, cautiously making slits into the canvas, then unweaving, thread by thread – engaging with the material, exploring it. My work became completely ‘unstrung’ by 1989.

“Unweaving became a meditative process that allows me to feel my way into the material at the same time that I am feeling my way into the spiritual texts that have caught my attention,” she said. “Liberating the threads – creating different forms physically – has given specific resonance to the biblical, spiritual and poetic texts that fascinate me. Both the words within each piece and the unwoven form suggesting these words serve as a visual commentary, a visual midrash. This process of unweaving, then reweaving with text, paint, texture and beads, becomes a modern interpretation of the narrative and ritual function of textiles.”

photo - Laurie Wohl — Laurie Wohl’s textile art is on exhibit at the Zack Gallery until Nov. 8. *(photo from Laurie Wohl)*

Wohl’s maternal grandfather was an Orthodox rabbi – “I was very close to him, going to Shabbat morning services with him, sitting with him in the intense quiet of a Saturday afternoon twilight, at the waning of Shabbat,” she said.

“I was raised in the questioning tradition of Reform Judaism and I have read widely in the faith traditions of Christian and Eastern religions,” she continued. “My work has grown out of my own search for meaning – what is important to me as an artist in our complex world – and from my exploration of a medium that’s congenial to this meaning. The events of our time and my own life experiences have captured my imagination, and led me to be concerned with possibilities for reconciliation, both political and religious – in post-apartheid South Africa, in Christian-Jewish relations and, after Sept. 11, 2001, in possibilities for interfaith conversations among Jews, Christians and Muslims.”

Wohl uses a heavy cotton canvas for her works. She describes her creative process on her website: “I first release either the warp or weft threads to create the desired shape. Various textures may be collaged onto the surface, such as fibrous papers, sand and pumice. My images and calligraphy are applied with modeling paste. I then apply acrylic paints to the surface, and a final thin layer of gold wash. Where gauze is used, the fabric is dipped in diluted paint, then hand-painted and embellished with fibrous papers. In the last part of the process, beads – prayers and marking points – are affixed with acrylic gel.”

Wohl’s textiles are held in numerous public and private collections, including the Museum of Arts and Design, and some of her pieces have been on long-term loan to U.S. embassies in several countries. Her works are recognized by the American Institute of Architects’ Interfaith Forum on Religion, Art and Architecture, and by the Surface Design Association, and she has exhibited in widely differing venues, from Jewish community centre galleries to university galleries to galleries in theological seminaries.

“One of the exhibits in a Christian theological seminary led to a feature on my work in a magazine, Christianity and the Arts, which led to my work being exhibited in a major church in Chicago – Fourth Presbyterian Church,” she said. “This led to a commissioning by the church of 12 pieces for their sanctuary. And that led to another commission in New York City by Madison Avenue Presbyterian Church.

“The pieces I made for these sanctuaries are my responses to the particular interfaith work of those communities and their Old Testament roots. The Psalms Project for Fourth Presbyterian’s main sanctuary consists of 12 large pieces…. The church asked me to use Hebrew as well as English calligraphy to underscore the congregation’s immersion in its Old Testament roots, and the psalmic motif emphasizes the Christian-Jewish dialogue to which that church is committed. The project for Madison Avenue Presbyterian Church uses texts from both Old and New Testaments, and Hebrew, English and Greek calligraphy.

“Between 2001 and 2010, as I was working on projects exploring the relationship of Christianity and Judaism, the necessity of expanding my work into the realm of Islam was percolating beneath the surface,” she said. “I had just moved to New York City when the events of Sept. 11, 2001, occurred. Experiencing the trauma and aftermath, and especially the demonizing of many Muslims, I began to think about how I, as an artist, could contribute to a better understanding among Jews, Christians and Muslims – to suggest a way that art can be used to mediate at the intersection of faith and politics. After extensive reading in medieval and contemporary spiritual texts and poetry in 2009, I began my 18-piece project – Birds of Longing: Exile and Memory – in which I explore the relationships among the three Abrahamic religions, using text, texture, colour and form. I relate spiritual and poetic texts from the Convivencia (the Spanish medieval period) to contemporary Middle Eastern poetry, particularly Israeli, Palestinian and Syrian. The pieces explore common themes of spiritual love, exile, nostalgia for Andalusia, poetry referencing Old and New Testament texts and the Qu’ran, and poetry speaking of mistrust of enemies, yearning for reconciliation.”

Wohl began the Shabbat Project after Birds of Longing, which had been an intense process. “I was somewhat exhausted spiritually – there seemed to be no end in sight to the fighting and misunderstanding in the Middle East, and xenophobia was heating up against immigrants and refugees coming to our borders,” she said. “I felt a need for spiritual renewal and turned to our tradition. The Kabbalat Shabbat service at my own synagogue – Stephen Wise Free Synagogue [SWFS] in New York City – is a wonderful blend of reflective and joyous music. Through wordless music – the niggunim – and through prayerful words set to music, we are invited to enter into the spiritual, the transcendent, both individually and in community.

“Music has long been an important part of my art practice. The pieces in the Shabbat Project embody prayers and psalms of the Kabbalat Shabbat and Shabbat morning services, both in terms of the texts inscribed and the form of each piece, which evokes – hopefully – the spiritual texts. I was fortunate to collaborate with Cantor Dan Singer at SWFS for a soundscape that is integral to and accompanies the project.”

Wohl shared the meaning behind a few of the works from the Shabbat Project. “The piece ‘Kabbalat Shabbat’ is a circular piece suspended from the ceiling,” she explained. “With this form, and using semi-transparent materials, I try to evoke the mystery and beauty of the Shabbat bridge. There are references to many prayers and melodies embedded in the piece: Y’did Nefesh, Ahavat Olam, V’al Kulam, L’chu N’ran’na.”

image - “Sanctuary: Mishkan” by Laurie Wohl — “Sanctuary: Mishkan” by Laurie Wohl, who explained: “The partially unwoven centre alludes to the bima and altar, and the piece includes words from Psalm 19, Yih’yu L’ratzon: ‘May the words of my mouth and the meditations of my heart be acceptable to You….’”

Another example she gave was “Hashkiveinu: Evening Prayer,” which, she said, “suggests a tallit or prayer shawl and embodies words from an ancient prayer. ‘Cause us to lie down in peace and raise us up, our Sovereign, to life renewed’: ‘Hashkiveinu, Adonai Eloheinu, l’shalom. V’haamideinu shomreinu l’chayim.’

“‘Romemu’ also echoes the form of a tallit or prayer shawl, and incorporates the praise text from Psalm 99:9: ‘Let us exalt Adonai our God / and worship at His holy hill / for holy is Adonai, let us exalt.’ (‘Romemu Adonai Eloheinu / V’hishtachavu l’har kodsho / Ki kadosh Adonai Eloheinu, romemu.’)”

In total, 12 pieces comprise the Shabbat Project and the Meditation Project encompasses 11 pieces.

“For many years, the process of unweaving and working with spiritual texts has been a form of meditation for me,” said Wohl of the latter project. “Living in New York City at the beginning of the COVID pandemic, the incomprehensible numbers of those dying daily caused me to search for a way to find solace in a world turned upside down. Rabbi Angela Buchdahl, the senior rabbi at Central Synagogue in Manhattan, started a daily meditation practice on Zoom just then. I found comfort in her teachings and in the communal aspect of the meditation. Rabbi Buchdahl has continued the communal meditation once a week, and I have continued my meditation practice. The pieces in the Meditation Project draw on the teachings from her sessions and my responses to them. My hope is that the thoughts I held as I created the work will project a sense of mindfulness and serenity that viewers can carry with them.”

Art show with a holiday feel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The exhibit continues until Dec. 31.

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

Chai Quilt grows and changes

When I first entered the Zack Gallery to view its new show, the Chai Quilt, my first impression was that it was an amateur show. Only one wall of the gallery featured art, and it looked like the work of a kindergarten class, with several exceptions. I soon found out that that is indeed what it is!

In talking to gallery director Hope Forstenzer, I learned that this exhibit is different from most of the shows the gallery has produced. Many of the amateur artists are actually 3 to 5 years old and attend the JCC’s preschool.

“We sent out a call for participation in this show to everyone on the mailing lists of the JCC and the gallery,” said Forstenzer. “I wanted this show to connect the gallery to the community, to make it a mixed show. Whenever someone expressed an interest, we gave them the fabric squares and the craft kits. Some families received four or five squares for every family member. Our preschool at the centre had several, too. A few professional artists also responded to the call, as did some of the JCC staff.”

photo - A portion of the Chai Quilt at Zack Gallery — A portion of the Chai Quilt at Zack Gallery *(photo by Hope Forstenzer)*

The show takes place in conjunction with the JCC’s Festival of Israeli Culture and, therefore, shares the festival’s theme, which is celebrating life – chai, in Hebrew.

“We asked everyone to create their own celebration of life and spring,” explained Forstenzer. “No matter how hard the pandemic hit us all, there is still life worth celebrating.”

When the squares came back from the artists, Forstenzer created a quilt of them on one long wall of the gallery, a continuous artistic surface reflecting community members’ united vision of life. “The squares touch sides,” she said. “Even if we can’t meet because of the pandemic, we’re still in this together. Our art brings us together.”

The show’s unique blend of professional and amateur artists means there are several profound differences from previous Zack shows. One of those differences is that there are no name cards. If a participant signed their square, everyone can see their name; if not, the square’s creator is anonymous.

Another difference is that the show started a week later than planned.

“Many of the participants are families with children,” said Forstenzer. “They kept calling me and asking for more time. Even now, when the show is open, the squares are still trickling in. There are already over 70 on the wall. I had three new ones today, waiting on my desk, and more are coming, I’m sure. I’m going to add them on to the end of the quilt as they come.”

photo - Another part of the Chai Quilt at Zack Gallery — Another part of the Chai Quilt at Zack Gallery *(photo by Hope Forstenzer)*

The show, or rather the quilt, grows daily; resembling a living organism. And, it also changes. As I was speaking to Forstenzer, one of the participants, Jessica Gutteridge, artistic director of the Rothstein Theatre, came into the gallery. She wanted to rotate her square, which was already on the gallery wall. “It would look better the other way,” she offered, and Forstenzer agreed.

“I was excited to have an opportunity to participate in this community art project,” Gutteridge said. “Although my professional artistic practice is in the theatre, I have been involved as a hobbyist and student in visual arts and crafts, particularly needlework, for most of my life. During the early part of the pandemic, Hope and I created a virtual drop-in community art program called the Creative Kibbitz. It was based on a project I had started – to invite people to my home to socialize and make creative work. This show was a nice way to extend that work, and a theme based on celebrating life and renewal seemed very appropriate and inspiring in this moment.”

Although Gutteridge has never participated in a Zack show before, her pink square with its jolly cherry blossoms looks like it belongs on the gallery’s wall. “Cherry blossom time is one of my favourite moments of the year,” she said. “It is so ethereally beautiful for the short time it lasts. To me, it captures the rebirth of spring perfectly and the stirring of new life. I decided to make a spray of cherry blossoms using two of my favourite media, yarn and rhinestones, in an effort to make something that captures the shimmer and sparkle of spring.”

In addition to needlework, the quilt pieces have been made using an astounding variety of media. Photo collages and paintings. Feathers and beads and felt flowers. Dried leaves and confetti paper ribbons. Letters and abstract glitter splashes. Buttons and lace.

The creator of one square, which has dancers in lacy costumes, is Beryl Israel, a retired teacher. “I am a member of the fantastic JCC Circle of Friends program,” she said in an email interview. “Up to the start of COVID, I taught tap dancing at one of the local community centres.” Her love of dancing poured into her contribution to this show.

“My motivation for this work was to concentrate on the happiness and positivity around us in a gentle, hopeful way, with the inspiration from the dancing figures of Matisse,” she explained. “I wanted to record some of my old dress fabrics, laces from my mother, favourite photos, handmade paper, flowers, etc., plus the use of acrylic paints and stitching, which resulted in my composition.”

The imagination all the artists infused into their squares seems to know no bounds, as if they wanted to say, the ways in which we each see life is different, but, together, we can create a life as diverse and colourful as the Chai Quilt on the wall of the Zack Gallery.

The quilt is on exhibit until May 14.

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

Little hat store that could

SherlockS has a window display starring a two-foot-high teddy bear dressed like Sherlock Holmes. (photo by Micha Paul)

There is a small, magical hat store right in the heart of Jerusalem, called SherlockS. It’s not hard to find. Just walk along King George Street until you see a two-foot-high teddy bear dressed in a SherlockS deerstalker hat and Inverness cloak, holding a pipe in one hand and a magnifying glass in the other, perched on a table in the display window.

SherlockS is packed with hundreds of hats for both men and women. The store specializes in hard-to-fit heads and carries hats by Stetson, Bailey, Kangol, Christys’ and many other quality hat companies. There are even Borsalinos, the kind the snazzy Italians wear. SherlockS is also the home of handmade hats by local milliners like Danielle Mazin and Justine. And SherlockS makes their own Panama hats, as well.

Owner Yaacov Peterseil decided to create this store after his dermatologist warned him about the damage the sun’s ultraviolet rays were doing to his head. “You must wear a hat outside in summer and winter,” said the doctor.

photo - Yaacov Peterseil is owner of SherlockS — Yaacov Peterseil is owner of SherlockS. *(photo by Micha Paul)*

“I was just looking for something to do, having left publishing,” Yaacov explained. “Could a hat store afford me the opportunity to help people by keeping the sun’s rays at bay and be financially rewarding, as well? I wondered. I had to try. So, in 2016, I opened SherlockS Hats in my garage. Before long, people came in droves to the store, which was way too small to hold both the hats and the people. So, I moved to Diskin Street, in an underground mall. But, soon, that store was too small, too. Finally, I moved to King George Street, where people could stop by, relax, get a cappuccino and a muffin, and even buy a hat.”

When Yaacov was choosing a name for his business, Sherlock and Sherlock Holmes were already taken. “So, I thought of SherlockS. SherlockS Hats has a nice ring to it. And there’s no need for an apostrophe,” he said.

Peterseil was born in 1946, in Salzburg, Austria, in a displaced persons camp. His family moved to the United States in 1949. Eventually, his father opened a wholesale clothing shop, selling ladies sweaters and T-shirts to all the big chains in New York.

“I worked with my dad for awhile,” said Yaacov. “It was there I developed a love of quality clothing.”

Yaacov believes that his varied business endeavours all led him to SherlockS Hats. He worked as a copywriter for Prentice-Hall, had his own byline in the Nassau Herald, taught journalism at the University of Michigan, was a speech writer for B’nai B’rith, founded Enjoy-A-Book Club, and owned K’tonton Book Store on Long Island. He also found time to get his rabbinic degree, and joined the rabbinate in the United States and in Newfoundland, where he taught Jewish studies at Memorial University.

In 1986, he, his wife Tamar (a family and sex therapist) and their (then) six children made aliyah. Once they settled in, Yaacov kept busy as public relations director for his mentor, Rabbi Shlomo Riskin, and developed Pitspopany Press for Children.

It was while he was busy publishing Jewish children’s books at Pitspopany that Yaacov asked me to review some of their titles. Since then, our paths have crossed a number of times.

“One of my first hat purchases was the deerstalker hat,” said Yaacov. “It was made famous in 1891 when Sidney Paget illustrated one of Conan Doyle’s Sherlock Holmes stories, putting a deerstalker hat on the detective. Today, I sell about 50 deerstalker hats a year in Israel.”

When COVID-19 forced him to keep his shop closed for weeks and months at a time, Yaacov took his store online. He created sherlockshats.com, which features a 3-D tour of his hat-filled store, as well as hundreds of hats from which to choose.

“I write two kinds of blogs for the website,” he said. “One is a story-type blog called The Adventures of the Mad Hatter. The blog tells the story of some of the strange and unusual things that happen in my hat store. The other blog gives a bit more practical information about hats and how to wear them. I’m writing one now on how to fit the hard-to-fit head.”

Next time you get to Israel, you’re invited to visit SherlockS at 31 King George. It’s not as famous as 221b Baker St. yet, but it’s getting there. And, if you want to talk hats with Yaacov, call him at 972-50-361-2342 or message him via the website.

Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.

Beauty of quilting tradition

One of Shlomit Etzion’s handcrafted quilts. (photo by Nir Falay)

Despite being generally considered the cradle of ancient civilizations and the source of the world’s monotheistic religions, the Middle East region is not known for its quilting. Yet, even in Jerusalem, you will find dedicated quilters.

Quilting is the process of sewing two or more pieces of fabric together to make a thicker padded material. Quilting is done all over the world, from Europe to America, to Southern Asia. While we don’t know its origins, we do know that, for many years, people quilted their clothes. Moreover – despite the Middle East not being recognized for its quilting – the earliest piece of quilted garment comes from the figure of a Pharaoh, dating to around 3400 BC, the period of ancient Egypt’s First Dynasty.

Shlomit Etzion, a Jerusalem resident since birth, said she has always worked with her hands. Her mother encouraged her to do handcrafts and she recalls that she started with embroidery. For a time, Shlomit considered going to a high school where she could pursue that, but decided not to go that route. In the end, she began quilting after she finished her university degree.

What would compel someone to begin quilting? For Shlomit, it was the beauty of traditional quilts. She likes Amish quilts and has even visited Amish quilters. She also likes the quilts of Native Americans. That is not to say, however, that she does art quilt, which employs both modern and traditional quilting techniques to create art objects. An art quilt is an original exploration of a concept or idea rather than the handing down of a pattern. It experiments with textile manipulation, colour, texture and/or a diversity of mixed media. Since this is not the type of work she creates, Shlomit describes herself as a traditionalist who uses traditional patterns as a jumping off point.

(As an aside, there are a number of quilt patterns based on the Hebrew Bible. They include Jacob’s Ladder, the Children of Israel, Joseph’s Coat of Many Colours and the Star of Goshen.)

In the beginning, Shlomit worked using scraps from old clothes and sewing by hand, just as was originally done in the United States. But now she buys her material, because it offers her more choices. She only uses cotton, as she likes the feel of it. When she visits the United States, she always goes to fabric stores to shop for material. However, there are now a few stores in Jerusalem that have a good cloth selection.

Shlomit uses a Bernina quilting machine, but there is a lot of picking of materials, measuring, pinning and cutting to do by hand. To secure her pieced top, the insulating fabric and the backing fabric, she brings her materials to a woman with a long-arm machine. Amazing as this may sound, Shlomit pointed out that nowadays, instead of sewing, some people even glue their pieces together.

photo - A handcrafted quilt by Shlomit Etzion — A handcrafted quilt by Shlomit Etzion. *(photo by Nir Falay)*

In her work, Shlomit often uses the nine-patch on point (consisting of nine evenly sized blocks stitched together). However, she has also made stunning quilts using the jelly roll pattern – for which the fabric is pre-cut and you can use a simple sewing method to put it together – and the log cabin pattern. In log cabin quilts, there is a repeated single block pattern of light and dark fabric strips that represent the walls of a log cabin; a centre patch, often of red cloth, represents the hearth or fire. Other geometric shapes such as trapezoids or right-angle triangles might appear in her quilts.

Shlomit likes fall colours the best – oranges, tans, brown shades. Because she is a red head, for a period of time she steered away from greens and blues. As a child, she had been pushed to wear those colours.

Life in general inspires her art, and living in Jerusalem plays a role, she said.

She derives tremendous joy from quilting, she added. She can sit for a whole day doing it. She enjoys not just the sewing, but also the technical work. She probably has 50 to 60 completed quilts at home, she said.

In Israel, unfortunately, people are not very interested in paying the price that quilt handwork commands, so her sales have covered the cost of her supplies, but not the hours she has spent making the quilts.

She prefers to work alone, but, when quilting meetings are held in Jerusalem, she joins the group. The Jerusalem quilting group is not formally active, though. Members seem to get together most regularly when they have an exhibit for which to prepare. While some readers may have seen movies or read books – such as Margaret Atwood’s Alias Grace or Whitney Otto’s How to Make an American Quilt – in which people attend quilting bees, working on the same quilt, this does not happen in Jerusalem. Like many groups, the Jerusalem quilters have met less often because of COVID-19 concerns.

Even though they aren’t an active group per se, the Jerusalem quilters have had some lovely exhibits at the International Convention Centre, the Jerusalem Theatre, the YMCA and the Mormon College. (See israelquilt.com/en/quilting-groups for more information.) Shlomit herself has exhibited in the United States and in the United Kingdom.

I suspect this quote about quilts originally targeted the receiver, rather than the giver: “Blankets wrap you in warmth, quilts wrap you in love.” In Shlomit’s case, however, the physical making of the quilt is a form of love.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Inspiring achievers honoured

Dr. Paige Axelrood and Ivan Sayers were among the 25 British Columbians honoured with a 2020 BC Achievement Community Award. (photos from BC Achievement Foundation)

On April 27, Premier John Horgan and Anne Giardini, chair of the BC Achievement Foundation, named this year’s recipients of the BC Achievement Community Award. Among those honoured were Jewish community members Dr. Paige Axelrood and Ivan Sayers. “These days more than ever, our communities are made stronger by British Columbians who go above and beyond,” said Horgan. “Thanks go to all of the BC Achievement 2020 Community Award recipients for helping build a better province for everyone.”

“It is an honour to celebrate the excellence and dedication of these 25 outstanding British Columbians,” added Giardini. “On behalf of all of us at the BC Achievement Foundation, I thank each of them for strengthening their communities and inspiring others to community action.”

As the founder of the Scientist in Residence Program, Axelrood developed and built an educational program to support teachers and help students discover their inner scientist. Elementary students across the Vancouver School District have experienced real science and discovered the natural world through the Scientist in Residence Program. Axelrood’s vision to partner teachers with scientists to facilitate hands-on, inquiry-based lessons has helped change the delivery of science education.

Sayers is the honorary curator of the BC Society for Museum of Original Costume and curator emeritus, Museum of Vancouver. Specializing in the study of women’s, men’s and children’s fashions from 1700 to the present, Sayers has produced historical fashion shows and museum exhibitions all over western North America. A lecturer and mentor, his fashion shows have supported countless nonprofits over the years.

The BC Achievement Foundation is an independent foundation established in 2003, whose mission is to honour excellence and inspire achievement. This year’s selection committee members were Mayor Lee Brain of Prince Rupert, Mayor Michelle Staples of Duncan, and past recipients Lolly Bennett, Aart Schuurman Hess and Andy Yu.

The recipients of the 2020 Community Award will be recognized in a formal presentation ceremony in Victoria, in the presence of Janet Austin, lieutenant governor of British Columbia. Each recipient receives a certificate and a medallion designed by BC artist Robert Davidson. For more information on the award and its recipients, past and present, visit bcachievement.com.

Creation of now-iconic pant

Jeans bearing the Levi Strauss & Co. trademark.

Nothing quite compares to the essential staple that almost all of us have in our closets, with styles including flare, skinny, low-rise, high-rise, boyfriend, ripped, the list goes on. If you haven’t guessed already, I’m referring to jeans. They epitomize fashion versatility, taking us from a city stroll in a pair of sneakers to our favourite restaurant in the evening with a boot or dress shoes. There are few fashion houses, from couture to street wear, that haven’t designed their own style. But, for the original jean, we have to thank Levi Strauss & Co.

Loeb Strauss, born 1829 in Bavaria, was the youngest of seven children. At age 16, after his father’s death and with increasingly harsh restrictions and discrimination towards Jews, he decided – with his mother and two of his three sisters – to move to New York. There, two of his brothers welcomed him into their dry goods business.

photo - Levi Strauss — Levi Strauss. *(photo from Wikipedia)*

In the 1850s, in the midst of the gold rush, Strauss saw potential opportunities to set up shop in the West and he did so, opening a branch of the family business in San Francisco, where he changed his name from Loeb to Levi.

Levi Strauss & Co. became a rapid success, selling merchandise to local customers as well as to those in neighbouring cities. Strauss became a respected figure among the Jewish community, known to have a sharp business mind and a kind demeanour. He was also known for giving back to community, donating to both Jewish and non-Jewish charities.

The nature of the business – and the course of fashion worldwide – changed when Strauss was approached by Jacob W. Davis, a regular customer and acquaintance, who came to collect an order of canvas for his tailoring business. Davis made durable work wear, or “waist overalls,” as he called them, from special fabric that was primarily used to make tents. Having developed a system to prevent the overalls from ripping at the pockets by adding copper rivets at the corners (allowing them more longevity), he knew he discovered something big but, in order to proceed, he needed financial backing, primarily for the patent fee. Strauss became his business partner in 1873.

Levi Strauss & Co.’s jeans were produced largely for the labour workforce. However, over the years, they became a choice piece of clothing for women and men in any profession, at least when not working. Levi’s entered the world of film in 1938 when John Wayne wore a pair of Levi’s 501 jeans, transforming them into the American cowboy’s leading attire.

photo - According to the company’s website, the trademark depicting two horses attempting to pull apart a pair of Levi’s waist overalls, symbolizes “the strength of the clothing in the face of competition.” It was introduced in 1886 — According to the company’s website, the trademark depicting two horses attempting to pull apart a pair of Levi’s waist overalls, symbolizes “the strength of the clothing in the face of competition.” It was introduced in 1886. *(photo from levistrauss.com)*

The financial success of Levi Strauss & Co. allowed Strauss to expand his business to many diverse industries, from banking to electricity. His philanthropy also expanded and he gave to many Jewish organizations, notably helping found and establish the Reform congregation Emanu-El in San Francisco.

While Strauss never married and had no children of his own, he had a strong relationship with his nephews. When he died, in 1902, Levi Strauss & Co. and most of his estate went to his four nephews and other family members; many charities were also beneficiaries named in his will.

Over six generations, Levi Strauss & Co. has remained a family-run business, manufacturing not only jeans but other casual wear, accessories and a children’s line. One of the largest brand apparel companies in history, the Levi Strauss name is universally recognized. Now run by the Haas family, decedents of Strauss, the family and business continue Strauss’s legacy in another important way – by being one of the most charitable families in the Bay Area.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

The purple dyes of the Carmel Coast

(photo from Haifa University via Ashernet)

“Until now, there has not been any meaningful direct archeological evidence of workshops for the production of purple-coloured textiles from the Iron Age – the biblical period – not even in Tyre and Sidon [in Lebanon], which were the main Phoenician centres for the manufacture of purple dye. If we have identified our findings correctly, Tel Shikmona, on the Carmel Coast [in Israel], has just become one of the most unique archeological sites in the region,” explained Prof. Ayelet Gilboa and PhD candidate Golan Shalvi from the University of Haifa, who are studying finds that have been guarded in various storerooms in Haifa since the 1960s and ’70s.

Tel Shikmona is known mainly for its surrounding Byzantine settlement, including some splendid mosaics. The Iron Age settlement dates to the 11th to 6th centuries BCE, corresponding in biblical terms to the period of the judges, the United Monarchy (Saul, David and Solomon), the kingdoms of Israel and Judah and the Assyrian/Babylonian epoch. It occupies about five dunams (a bit more than one acre) out of the 100-dunam site of the Byzantine city at its peak. A section of the tel was excavated between 1963 and 1977 by Dr. Yosef Elgavis on behalf of the Haifa Museum, with the active support of then-Haifa mayor Abba Hushi. The site was known by archeologists and experts to have yielded rich material findings; for various reasons, however, these have never been published in a comprehensive manner.

The wealth of findings is associated with the Phoenician culture, including an unusual number of vessels imported from overseas, and it is the largest collection of ceramic vats found anywhere in the world from the first millennium BCE that still preserve purple colouring (made from the glands of murex snails). “Rather than being considered a region of secondary importance in this period, the Carmel Coast can now gain its rightful place as one of the most important production areas of the dye in ancient times in general, and during the biblical period in particular,” concluded the researchers.

The Shikmona project is being undertaken under the auspices of the Zinman Institute of Archeology at the University of Haifa, with the support of the Israel Antiquities Authority and the National Maritime Museum in Haifa, where some of the findings are displayed.

Crocheting as work

The label for an Iota rug and pouf hand-knit by Kefaya, a Bedouin woman. (photo from Iota)

Some of the best projects are born out of a desire for change – at least that was the case with Iota, an Israel-based textile company empowering unemployed women through the art of crochet.

Each one of the company’s rugs, pillows and home accessories is hand-crocheted by Bedouin women from their own homes, providing them with meaningful work and an independent source of income.

Bedouins are an Arab Israeli subgroup, located mainly in the south, with their own distinct culture and social norms. Historically, Bedouins lived a nomadic lifestyle, and many still herd livestock. Women traditionally tend to the house and children, resulting in high unemployment and poverty rates. A 2015 survey showed the employment rate among Bedouin women as 22%, compared to 32% for all Arab women.

Founded by Shula Mozes, an active social entrepreneur for more than 16 years, Iota aims to support the many women, all over the world, who are unable to work outside of the home due to cultural, religious and geographical reasons.

When she started the company in 2014, Mozes chose crochet, a self-taught hobby, as a means to create a business that could empower these women and fuel social change. With the help of creative director Tal Zur, she later discovered that not only is crochet a very versatile technique, but it has its own universal language that can be written and learned, like music notes.

“I realized that if I can learn to make things by crocheting small elements and putting them together, maybe we can teach women who don’t have work how to do the same,” Mozes said.

photo - Iota’s studio in Tel Aviv — Iota’s studio in Tel Aviv. (photo from Iota)

Iota now runs a small studio in Tel Aviv, where an all-female team of textile experts dreams up intricate designs. At least once a week, a member of the Iota team travels to Hura, a Bedouin village in southern Israel, to deliver raw materials to the women the company employs. Once complete, the finished products are transported back to Tel Aviv, each piece bearing a label signed by the woman who made it.

Currently, Iota employs three women in Hura, an intentionally small number, Mozes said, in order to maintain a strong commitment to each worker. “We have to respect their culture and empower the women slowly, so that they can work according to what they’re comfortable with,” she said.

Though centred on a 200-year-old technique, Iota’s designs are modern. The yarns used to create each piece are bespoke, developed in-house and produced in a local Tel Aviv factory. Mozes said that, by applying computerized designs, they’re able to create yarns that contain several different colours in the same thread, allowing the carpets to be made with one continuous string of yarn.

While Iota is currently only active in Israel, Mozes said she hopes to collaborate with other communities worldwide, which are experiencing high rates of female unemployment.

In January, Iota exhibited its collection for the third time at Maison & Objet, an international trade fair in Paris known for showcasing innovative design talents. The collection, ranging in price from 200 to 2,000 euros (from $315 to $3,150 Cdn), consists of colourful single-yarn rugs, oversized floor cushions, stools, one-of-a-kind swings and home accessories.

“I hope that, in the future, we will be able to take one of the women with us to an exhibition so she can experience the success of Iota firsthand,” Mozes said. “Without them, none of this would have happened.”

For more information, visit iotaproject.com.

Israel21c is a nonprofit educational foundation with a mission to focus media and public attention on the 21st-century Israel that exists beyond the conflict. For more, or to donate, visit israel21c.org.