Olga Livshin – Jewish Independent

Complexities of autism

Israeli neuroscientist Dr. Ilan Dinstein was in Vancouver last month to talk about autism research. (photo by Adele Lewin)

Neuroscientist Dr. Ilan Dinstein was in Vancouver last month to share research and expand knowledge on best practices internationally. An associate professor of psychology and cognitive and brain sciences at Ben-Gurion University of the Negev (BGU), Dinstein is the director of the new National Autism Research Centre (NAC) in Israel.

David Berson, executive director of the Canadian Associates of BGU for British Columbia and Alberta, told the Independent: “CABGU was delighted to be a part of hosting Dr Ilan Dinstein in Metro Vancouver. This visit was spearheaded by Dr. Grace Iarocci, Dr. Elina Birmingham and Dr. Sam Doesburg from SFU [Simon Fraser University] and Dr. Tim Oberlander from B.C. Children’s Hospital.

“Ilan Dinstein is a true reflection of the pioneering spirit that is unique to the Negev region of Israel, where, over the past five years, clinicians from Soroka University Medical Centre and researchers from Ben-Gurion University of the Negev have organically come together to collaborate for the betterment of all of the residents with ASD [autism spectrum disorder] in the region.”

Dinstein spoke with the Independent about the new centre and the purpose of his visit to Canada.

“We started the centre five years ago, to try to understand different causes of autism,” he said. “Autism is not one disorder. There are different sub-types of autism, with different possible roots and risk factors. Some of those factors are biological or genetic; others might be environmental. For example, a premature birth might be a risk factor in the child developing autism. Or the age of the parents – a child of older parents might have a higher risk of autism diagnosis than if the same parents were younger. We at the centre are trying to discover how the combination of genetic and environmental issues affects autism development.”

According to Dinstein, one of the reasons for the creation of the centre was the way science is funded in Israel. “The funding usually comes for one specific question,” he explained, “but autism is a complex, systematic disorder and it needs many facets of study, measurement and research; it needs collaboration and sharing of information. At the centre, we are able to combine different fields of study with the clinical applications, as we work together with the Soroka medical centre.”

The scientists of the NAC study autistic patients from different multidisciplinary angles: neuroscience and cellular biology, language pathology and motor tracking, even facial features.

“The truly unique thing is that we do all our studies inside the hospital,” Dinstein said. “Parents come in with their children, usually when the children are about 3 years old and the parents and the children’s teachers notice the kids’ uncommon behavioural patterns. The diagnosis of autism usually takes four visits. During those visits, we work in collaboration with the doctors, measuring various characteristics of the child’s development to arrive at the right diagnosis.

“We also started a database of all our patients, so we have a centralized well of knowledge about how various biological, cultural and social factors might contribute to autism development.”

Of course, not all of the parents agree to have their child added to the database, but Dinstein said that their recruitment rate is about 80%.

After the diagnosis, the scientists participate in determining a personalized treatment program, based on their research. “Such a program might include teaching the children useful behavioural habits, helping them with language acquisition or providing occupational therapy,” explained Dinstein. “Some autistic kids are very agitated and certain motions, like spinning, might calm them down. Sometimes, autistic children need to learn basic skills: how to dress themselves or brush their teeth.”

Pharmaceuticals can also help children cope with autism, but Dinstein said that only about 10% of patients use medications.

At the NAC, the scientists don’t treat patients, but rather study and make recommendations, develop new technologies and new methods of dealing with the disorder. Working together with clinical professionals, they hope to contribute to a higher rate of success in treatment.

One of the most important aspects of Dinstein’s and his colleagues’ work is an annual follow-up on the patients in the database. Families are required to come back once a year after the initial diagnosis, so the service providers can see their progress, determine what worked and what didn’t, and adjust their recommendations accordingly.

“We are still in the process of enlarging this project,” said Dinstein. “We want to open other locations in Israel, make our database to cover the entire state of Israel.”

The centre’s autism research, in particular its database of patients with autism, inspired interest locally, from scientists and clinicians to families and service providers. The invitation for Dinstein to visit Vancouver came from a range of people.

“Your researchers want to create a similar database to ours, Canada-wide,” said Dinstein about his presentation at the Children’s Hospital. “I met with scientists from UBC [University of British Columbia] and SFU, even some from Victoria. I also met medical professionals, parents, some service providers and stakeholders. I see these meetings as the beginning of a close relationship between autism research in Israel and in Canada. There are similarities there, but there are differences, too. Both countries have different ethnic maps, cultural traditions and genetic variations. We all want to know how such diversity affects autism.”

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

Trees bring Zack to life

Michael Seelig is donating the proceeds from his exhibit Trees to the Zack Gallery. (photo by Olga Livshin)

Trees, Michael Seelig’s new solo photography exhibit at the Zack Gallery, opened last week. It is a fundraiser for the gallery, which is located in the Jewish Community Centre of Greater Vancouver.

Such philanthropic initiatives “are of ultimate importance to the gallery and the community, as everybody wins when the gallery is well-supported,” said Zack director Linda Lando. “We have approximately three benefits a year, and they come in different ways. Sometimes, they’re initiated by the artist, sometimes by myself or another staff member of the JCC.”

Seelig’s decision to donate all the proceeds came from the heart, and it’s not the first time. His previous show at the Zack, which was held five years ago, was also a benefit. “This is my way of contributing to the JCC,” he said in an interview with the Independent. “We have a longstanding connection to the centre. My wife was president of the JCC some time ago, and we’ve given several donations to the community over the years.”

Unlike his previous show, which focused on architectural images – Seelig was an architect before he retired – this show is all about trees. A cornucopia of greens dominates the gallery walls.

“When Linda asked me to do a show this year, I didn’t have much in mind,” he said. “I started going through my photographs, selected the best 20, and then realized that eight of them were photos of trees. Looking back, I’ve always photographed trees. Maybe I have an affinity for trees. So, I thought I’d make it the theme of this entire show.”

photo - “Garden Kyoto” by Michael Seelig — “Garden Kyoto” by Michael Seelig.

Seelig has been drawn to trees and their unique charm for a long time. “I think my love of trees comes from my childhood, when I was growing up in Israel,” he said. “Jewish people are the only ones I know who have a holiday dedicated to trees: Tu b’Shevat. During that holiday, we cherish trees, plant them, take care of them, so they can take care of us. That tradition probably influenced me from a young age to love trees and photograph them. I take photos of trees wherever I travel.”

In the Zack exhibition, there are pictures of trees from Israel and Scotland, Canada and Japan.

“There is a book I read recently,” Seelig said, “called The Hidden Life of Trees, by Peter Wohlleben. He is a German forester and writer and he knows trees. He says trees form communities. They communicate with each other and with us. It was a fascinating book, and I agree with the author; his book inspired me. Have you noticed that old stumps sprout new growth sometimes? That is because there are other trees around. Trees are life-givers; they create the air we breathe. Without trees, there would be no life on earth.… In Canada, and particularly in British Columbia, we often take trees for granted. Most of us do not pause to look at them and admire their beauty, solidity and permanence. We forget that, without trees, our planet cannot survive. This show pays homage to trees in many parts of the world.”

Seelig’s trees are all different; each one has its own shape and personality. Some are gnarled and twisted, while others stretch up in straight lines.

“I like it that they don’t talk to me,” he joked. “Trees are my models, but they’re more obedient than people when it comes to posing for a photo. I can take my time snapping pictures of trees. They are perfect photography objects. A tree just stands there. You can walk around it, see it from 360 degrees or from underneath. And every view is different. You can’t do this with a person.”

In addition to Seelig’s photographs of trees, the show includes several watercolours, most of which he painted specifically for this exhibit. Only two small works are exceptions. “When I was looking through my archives in preparation for this show, I found a small painting, created by my father in 1940. He painted a street in Haifa, and there is a tree in the image. The second painting is mine; I painted it in 2010, also in Haifa. Seventy years passed between these two paintings, but their colour schemes are surprisingly similar. And there are trees in both paintings.”

The sizes of the images on display vary greatly. While Seelig’s father’s painting would fit in a school notebook, and most of the photographs are the perfect size for a family home, a huge triptych on canvas of one of his Kyoto garden photos would enliven a hotel foyer or a corporate conference room. “I invited some designers to the show,” Seelig said. “Maybe one of them would like it.”

Seelig’s approach to photography is consistently organic. He doesn’t edit his photos with Photoshop, doesn’t even crop them.

“My pictures are exactly what I see,” he said. “And now you see them, too. There are other photographers who manipulate their photos with editing software, many of them wonderful artists, but I don’t do that. I don’t call myself an artist either, even though I use my creativity for many things in my life. I used artistic judgment for my work as an architect, before I retired. Now, I make greeting cards and wedding invitations with my photographs and my paintings. I illustrated a couple of children’s books, written by my daughter and her husband. Even making dinner for our friends is a form of art for me.”

The Trees exhibit runs until Oct. 20.

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

Photos inspire a dream

“Curiosity,” photo by Liron Gertsman.

One of the most important issues we should be grappling with nowadays is the preservation of our habitat. At the forefront of the nature preservation movement are photographers and one of them is Liron Gertsman, a young, award-winning local nature photographer whose solo show, Essence of Earth, is at the Zack Gallery until Sept. 22.

The show is sponsored by Esther Chetner.

“Eldad Goldfarb, executive director of the Jewish Community Centre of Greater Vancouver, approached me about this upcoming sponsorship opportunity, aware of my own concern about climate change and my passion for photography,” Chetner told the Independent. “Though I’ve traipsed parts of the globe enjoying the wonders that photo details can deliver, I’m not at all technically trained nor technologically nimble…. I recognize the remarkable quality of Liron’s images, and see value in making his work accessible to others.”

Calling Gertsman a “rising star,” Chetner said, “Encouraging this type of exquisite work is another way to help people appreciate our natural world more deeply and then, hopefully, to work toward preserving such essential global health and diversity. The more we see and appreciate about our natural environment, the more we will all be inclined to proactively protect it.

“Jewish values are quite aligned with environmental stewardship, and so having Liron’s work displayed at the JCC seems like an appropriate fit.”

Part of the proceeds of the exhibit will benefit the gallery, and another part will go to the Nature Trust of British Columbia.

“There are several charities concerned with nature preservation in B.C.,” Gertsman said, “but I like the Nature Trust because they purchase land specifically to build and maintain a treasury of wild areas.”

The 19-year-old photographer is passionate about preservation. (See jewishindependent.ca/tikkun-olam-through-photos.)

photo - Liron Gertsman has loved nature and photography all his life — Liron Gertsman has loved nature and photography all his life. *(photo by Ian Harland)*

“I’ve loved nature and taking photographs all my life,” he told the Independent. “Recently, I started moving toward doing it professionally, like giving photography workshops or guiding people on their bird-watching expeditions.”

His photographs are like a guided tour. “I want people to witness nature,” he said. “I want to share with them what I see, even if they can’t travel themselves.”

To cover some of his costs, he has, at times, formed partnerships with companies and organizations.

“I choose companies focused on nature conservation,” he explained. “They would subsidize some aspects of my trip, or sometimes an entire trip, in exchange for photo use and social media marketing, usually through my Instagram account, which has close to 50,000 followers.”

For instance, in May and August of this year, Gertsman partnered with Ocean Outfitters, an ecotourism company based in Tofino.

“They are Tofino’s first carbon-neutral ecotourism company, and they have committed to donating $200,000 a year for multiple years towards restoration of the Tranquil Watershed,” he said.

Gertsman’s photos at the Zack Gallery are full of life and colour. His birds seem to soar through the gallery space. His landscapes are like windows, looking out into the British Columbia wilderness. Stars twinkle in the night sky. Pink crags reflect in the still surface of the lake. Waterfall gurgles across the boulders. Owls hide in the grass, and gulls skim over the rippling wavelets. But the beauty and serenity of his images filled me with apprehension. Could we lose all of this gorgeousness? The night after I visited his show, I had a dream, and Gertsman’s imagery figured heavily in my dreamscape.

* * *

“What is it, Grandpa?” a girl asked.

“A picture archive,” the old man replied.

“But it’s not a memory crystal.”

“No, it’s from the 21st century, an antique. Two hundred years old,” he said, inserting an outmoded device into a slot of his com-link and opening the files. Hundreds of pictures appeared on his screen. Nature, when it flourished.

“Oh,” his granddaughter said with interest. “What are those?”

“Birds,” he whispered reverently. In the image, hundreds of small dark bodies hurtle across the peachy sky, their wings pumping so rapidly, the image blurred.

“Like a hologram in a museum?”

“Yes. Only they were alive. Flying.”

“But why is the wall pink? Why would they paint it pink?”

photo - “Sandpiper Sunset,” by Liron Gertsman — “Sandpiper Sunset,” photo by Liron Gertsman.

The old man glanced at the wall of the cave that housed the archives. Nobody lived on the surface of the earth anymore. Nobody could survive the toxic environment. People inhabited underground caverns such as this one and, mostly, they didn’t bother painting the walls. There were few resources anymore.

“It’s not a wall, it’s the sky,” he said. He had been very young when the last of humanity had moved underground, but he still remembered the sky. Scientists said that, in a few more generations, they could live outside again, but he wasn’t sure his granddaughter would last that long. He certainly wouldn’t.

“Our teacher said the sky should be blue,” the girl insisted.

“The sky could be any colour. This is probably sunset.”

“What is sunset?” She had never seen the sun.

He sighed, but, before he could explain, her gaze had skipped to another image.

“It looks like a fountain,” she marveled, “but what are these green blobs?”

The old man winced. “Trees. Bushes. It’s not a fountain. It’s a waterfall.”

Her finger zeroed in on another image. “I know,” she said triumphantly. “These are dogs. Strange dogs, though.”

“These are not dogs. These are bears. The mother bear is….” He contemplated the animals on the screen, trying to remember his own textbooks. He had never seen a living bear either. “I think she is as big as I am,” he said at last. “Maybe bigger. And the little bears are probably your size.”

“So huge?” She eyed him with doubt. “They lived outside, too?”

He nodded.

“I don’t think I’d like it outside,” she said. “Everything is different. I like it better here.” She climbed off her chair and started to leave. “We have everything here.” She went out into the corridor. “I think it’s all fairy tales anyway,” she called back.

The old man remained still, staring at the closed door with sadness.

* * *

Essence of Earth opened at the Zack Gallery. To see more of Gertsman’s work, visit lirongertsman.com or instagram.com/liron_gertsman_photography.

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

Exhibit of inscriptional art

Ken Hughes infuses his paintings with messages. (photo by Olga Livshin)

Ken Hughes has always been fascinated with typography. “Since childhood, letters of the alphabet have intrigued me,” he said in an interview with the Independent.

“Public lettering is a centuries-old method of civic communication, both official and informal,” he said. “It goes back to Mesopotamia. By Greek and Roman times, public writing – inscriptions on buildings, commercial graphics, signs, epitaphs on tombs, graffiti – was common. The messages could be political or commercial, funerial or commemorative, religious or frivolous. In more contemporary times, particularly in Europe, public inscriptions have undergone a revival.”

The artist draws from this rich tradition for his paintings and his new show at the Zack Gallery, Ancient Writings in Contemporary Contexts, opens next week. A collection of inscriptional paintings, beautiful and evocative, colours and shapes of the images enhance and deepen the meanings of the lettering, and every piece tells a story.

Before retiring, Hughes was a professional graphic designer. He taught graphic design for years at Emily Carr and Kwantlen universities. He turned to art five years ago.

“Inscriptions – texts expressed formally or otherwise in different alphabets or languages – are a major source of inspiration for my paintings,” he said. “This particular exhibition’s goal is to visually express texts related to Jewish beliefs and culture. Some of the paintings have writings in the Hebrew alphabet. Others have transliterated Hebrew using the Roman alphabet.”

He explained that the messages in his paintings come from various sources: the Hebrew Bible, fiction and nonfiction by Jewish writers, as well as quotes by famous people, all related in one way or another to Jewish culture.

“I don’t speak Hebrew,” he said, “but I have friends who do. I always ask them to check the writing before I incorporate it into my paintings.”

In his work, the esthetics of the letters are intertwined with the message of the citation used. He has been collecting quotes, personal mottos, sayings and other forms of public texts for a long time. “I sing in a choir, and much of choral music is liturgical,” he said. “It has incredible messages, many of them in Latin. I also read a lot and get my messages from books, from newspapers, from common idioms.”

In 2002, Hughes took a yearlong sabbatical from teaching to prepare for what he does now.

“I traveled through Europe – Poland, France, Turkey, Belgium, Greece and Israel,” he said. “I took photos of the public inscriptions on civic buildings, in churches, at cemeteries. I wrote down quotes from illuminated manuscripts in national libraries. There are incredible inscriptions on the tombstones in Budapest, where many famous Hungarians are buried. Jewish cemeteries have beautiful inscriptions in Hebrew.”

Sometimes, a line of text or a quote stays in his memory or in his notebooks for decades before appearing in one of his paintings. Many of his pieces are sad, executed in a darkish palette, underscoring words of deep emotion: grief, fear, despair, memories of hard times and bleak thoughts. But there is hope and joy, too, and Hughes uses bright and colourful compositions to accentuate those messages.

One of his uplifting works, a multi-paneled cycle based on the story of Genesis, with Hebrew lettering dancing across the panels, is decorative as well as informative. The series will be in the exhibit at the Zack.

“Alphabets are amazing inventions, incredible almost,” Hughes said. “They allow people to communicate ideas with just a few symbols. And they are all different – the Roman alphabet, the Cyrillic letters, the Hebrew. In all cases, letters by themselves mean nothing; they’re just symbols. But a combination of letters, a phrase, could have profound meaning.”

When Hughes starts working on a piece, he approaches it as a designer, with a typographer’s attention to detail. He makes many sketches while investigating each idea. What colours should be employed and in what combinations? What is the best number of panels for this message and the most expressive configuration to highlight the meaning of the words? Even the font used can make a difference.

“Some letters look better in a rounded font; others need a blockier typeface,” he said. “The positioning of the letters and the words could be of paramount importance in my paintings. They constitute the composition. And, of course, the message itself often dictates the font type.”

There are not many artists in Canada who dedicate their art to this kind of painting.

“I wanted my paintings at the Zack,” Hughes said. “I don’t want to display at commercial galleries. I think my works are much more suited to schools, churches or community centres.”

Ancient Writings in Contemporary Contexts runs from July 25 to Aug. 25. To learn more, visit kenhughes-art.com.

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

Colour bursts forth in Conjunction

Ira Hoffecker’s current solo exhibit at the Zack Gallery, Conjunction, runs until July 21. (photo by Olga Livshin)

Conjunction, Ira Hoffecker’s current solo exhibit at the Zack Gallery, opened on June 13 and runs until July 21.

German-born Hoffecker and her family moved to Canada in 2004. “I always liked art, but when I lived in Germany, my husband and I worked in marketing for the movie industry,” she explained in an interview with the Independent.

Once, when her children were still young, they came here for a family vacation and traveled Vancouver Island. “We loved it,” she said. So much that, when they moved here permanently, they settled in Victoria. As if that wasn’t change enough, Hoffecker also decided to switch careers and follow her lifelong love of art. She enrolled in the Vancouver Island School of Art and has been studying and creating ever since.

Hoffecker’s previous show at the Zack Gallery, in 2016, was dedicated to maps. Since then, her art has undergone a couple of transformations. Conjunction is much brighter and more expressive set of works, although the abstract component remains.

On the journey to her new colourful mode, Hoffecker went through a black-and-white stage, which was the focus of her master’s in fine arts’ thesis, which she completed last year. The works she created for her master’s degree include a number of huge paintings – abstracts made with tar on canvas – plus three documentary videos. The theme – “History as Personal Memory” – was a painful one for the artist. She recalled, “One of my professors said that my works are the interconnected layers of urban setting and history. ‘Where is your personal layer?’ he asked me.”

Taking this advice, she has been trying to delve into her personal recollections, to uncover her place in history, her “personal layer” among the historical layers dominating her art. “In ‘History as Personal Memory,’ I tore pages from a history book about the Third Reich, an era in history that many Germans would prefer to forget. Yet I think it is important to face and discuss this past. Such dialogue might prevent the horrors from happening again,” she said.

In Hoffecker’s art, the artist’s memories are intertwined with the history of her nation. “Correlations between my childhood abuse, which I tried to forget, and the history of Germany, which the Germans tried to eradicate from their memories, exist in my paintings and films,” she said.

In her art and her videos, she opens up about the abuse she suffered as a child at the hands of her grandfather, who was also a Nazi. She is convinced that such openness has helped her heal, whereas suppressing the memories led only to the festering of her inner wounds.

The same is true for historical memories, Hoffecker insisted. “Germany needs to remember, to confront and challenge complacency to prevent a repetition of historical atrocities,” she said.

Her master’s thesis was a deep and painful discovery, a journey in black-and-white to underscore the grimness and tragedy of the topic. Once it was completed, she was ready for a change of direction.

“I spent the summer last year in Berlin,” she said. “When I came back home to Victoria, I wanted to paint some colours again.”

Hoffecker’s current exhibit bursts with vibrant colours and optimism. The series Berlin Spaces, like most of her paintings, has several layers. “There are outlines of many famous Berlin buildings there,” she said, tracing the architectural lines embedded in the abstract patterns with her finger. “The Jewish Museum, the Philharmonie, the library, the Reichstag. It is like a reconstruction, when I think about the past. I overlay history and architecture.”

One of the paintings, a bright yellow-and-pink abstract, has writing among its patterns. “It means ‘forgetting’ in German,” Hoffecker explained. “A few years ago, I was invited to have a solo show in Hof, a city in Germany. I worked there in the archives, found many old maps and records. One of their buildings is a factory now. After the war, it was a refugee camp, and there is a plaque to commemorate the fact. But, during the war, it was a labour camp, a place from where Jewish prisoners were transported to concentration camps and death, but nothing is there to remind [people] of that past. The painting reflects the current happy state of the building, but it also reflects the tragic past, the past we shouldn’t forget.”

While not many art lovers will see the horrors of the labour camp in the airy and cheerful palette of the painting, Hoffecker doesn’t mind. Like other abstract artists, she infuses her images with hidden messages, but doesn’t insist on her personal intentions.

“I own the making,” she said. “I bring in my memories and my heart, but I have to leave the interpretation to the viewers. One man in Victoria loves my art. He bought two of my paintings. He said he sees animal in them. I don’t paint animals, but I’m glad people’s own experience resonates with my paintings.”

Hoffecker is very serious about her art, but bemoans the need for promotion. “I did marketing for movies professionally, but I never really cared [about the reaction]. If someone didn’t like the movie we were pushing, it was his business,” she said. “But to promote my own paintings is scary. When someone doesn’t like what I do, I care. It hurts. I don’t want to do it. An artist wants to be in her studio and paint. It is all I want: to paint and to exhibit. I want people to see my work. Besides, a show is the only time when I see many of my paintings together. I never can do that in my studio. I only see one or two at a time.”

To learn more about Hoffecker’s work, visit irahoffecker.com.

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

Rootman’s night scenes

Jack Rootman, in front of his painting “Homage to Degas.” (photo by Olga Livshin)

Jack Rootman’s new solo show, Scene at Night, opens tomorrow, June 1, at the Visual Space Gallery on Dunbar Street. As the name implies, the exhibition is dedicated to Rootman’s paintings of urban night scenes.

“There are several reasons I’m interested in painting the night,” he said in an interview with the Independent. “First, I wanted to show human activity as it is spotlighted at night. People move from one light source to another, from the indoor balcony to the moving lights of cars. You don’t see it so focused during the day. When you look in the daytime, there is a panorama in front of you, your attention wanders; there is too much to see. But, at night, you see activity encapsulated. Someone drinks coffee. Someone crosses a street. Someone is sad or crying or laughing. Your attention is drawn to a spot of light.”

The second reason for his fascination with the nocturnal setting has to do with the constantly changing colours and contrasts. “There are many light sources wherever you are at night – streetlights, lights from the windows, moonlight – and each combination gives off different colour nuances and shadows, depending on where you stand, on the angle of your view,” he explained.

Rootman thinks an element of colour always exists, even at night, when there is a “dynamic blackness. If you look at my paintings,” he said, “there is red black and purple black, blue black and green black.”

Night’s more limited spectrum of colours intrigues and challenges the artist. “Of course, it is more difficult to paint night, to see colours in the darkness,” he said. “Sometimes, I have to use Photoshop to analyze what colours appear in a photograph, before I transfer the image to an oil painting.”

Rootman started painting night scenes years ago, although the bulk of the 22 paintings in the current exhibit have been created in the past five years. During his travels, he took many photographs at night in Paris, Venice, New York and Montreal. He also made sketches and recorded the colours as he saw them. But his paintings never follow the photos to the letter. One painting, a ribbon of light, might be an abstract representation of the night traffic along a boulevard, based on a photo taken from the balcony of his hotel room. Another might be a composition of images from different years and cities.

“My painting ‘Homage to Degas’ is one such a composition,” he said. “I saw this marijuana shop in Vancouver and it reminded me of a Degas painting. I included two of his paintings in this piece.”

In addition to the technical challenges of depicting a city scene at night, Rootman is interested in the loneliness that is most profound at night. “During the day,” he said, “we are at work, but the night brings isolation. It also brings possibilities – many people are lonely, and they go out during the night to meet others.”

photo - “Ice Cream,” by Jack Rootman, is among the works featured in his solo show, Scene at Night, which opens June 1 at the Visual Space Gallery — “Ice Cream,” by Jack Rootman, is among the works featured in his solo show, Scene at Night, which opens June 1 at the Visual Space Gallery.

Some of the paintings show this disconnection. Everyone is absorbed in what they are doing, alone in their own spots of light, talking on their cellphone or lost in thought, and darkness separates them from one another.

“The night is also traditionally associated with a sense of danger,” the artist mused. “Several paintings in this series are lanes, particularly lanes in downtown Vancouver. Anything could hide in such a lane, with insufficient light: from rats to human predators.”

While his lanes are bleak, despite the illumination of neon signs and streetlights, there is always hope in Rootman’s paintings. Perhaps his medical background brings that sense to the fore of everything he does, both in his professional field of eye surgery and in his art.

“My most comfortable mental state is when I’m doing something creative and visual,” he said. “It works for my art. It also worked for my job as a surgeon, before I retired. Surgery is very creative. Like art, surgery is a discovery. Nothing is ever as you expected.”

And, like in his medical practice, where every patient had a story, all of his paintings are stories, too, stories of danger and loneliness, separation and connection, all linked together by darkness and light.

“My work has a certain affiliation with music and poetry,” said Rootman. “That’s why I decided to have a music night and a poetry night as parts of this show.”

The music night with Amicus Ensemble will be held at the gallery on June 5, 6-8 p.m., and the poetry night the next evening, June 6, 6-8 p.m. Scene at Night is at the Visual Space Gallery until June 9.

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

Artistic tribute to Shoah survivors

The Schara Tzedeck Shoah Survivors Tribute Wall was created for the congregation by John Nutter. The sculpture, which includes the names of 230 survivors, was dedicated May 3. (photo from John Nutter)

Congregation Schara Tzedeck has a new art installation in its main sanctuary. The Schara Tzedeck Shoah Survivors Tribute Wall – a Tree of Life rendered in sandblasted glass – includes the names of 230 survivors. It was dedicated May 3.

Full of shared memories and friendship, the pre-Shabbat dedication ceremony featured several speakers: the synagogue’s spiritual leader, Rabbi Andrew Rosenblatt; its executive president, Howard Kallner; younger family members of the survivors; Ed Lewin, co-chair of the project with Hodie Kahn; and the man who started the entire project, Dr. Robert Krell, a child survivor.

“We wanted to honour the Holocaust survivors who found their way to Canada, before and after the war, and wound up as members of this shul,” Lewin told the Independent. “Most of them came here in 1948. Their names are all there, on the wall. My parents’ and grandparents’ names are among them.”

Explaining how the project started, Lewin said, “We had this empty space, and Krell suggested a tribute to Holocaust survivors. It was several years ago. It took us awhile to find the talented glass artist, John Nutter, who transformed our ideas into a sculpture.”

The synagogue is publishing a commemorative book about the installation, as well. While the Tribute Wall features survivors’ names only, the book also contains photographs of the survivors; there are family and group photo pages. Together, the book and the wall serve as a memorial to those who not only survived the Shoah but contributed greatly to Schara Tzedeck and to the development of Greater Vancouver and the province over the past seven decades.

One page of the book is dedicated to Nutter, who has created numerous art installations for churches and synagogues, mostly in New York. His works decorate many institutions in the United States and Canada: hotels, museums, hospitals. He collaborated with local artist Bill Reid on a glass sculpture at the Vancouver International Airport. A few years ago, Glass Magazine named Nutter one of the top three architectural glass artists in the country.

About how he came to design the Tribute Wall, Nutter said, “A few years ago, I did a small glass sculpture for the Louis Brier Home, a collaboration with a wonderful artist and friend, Diana Zoe Coop. Camille Wenner, Diana’s daughter, works for Schara Tzedeck. I’ve known Camille since she was a young child. She contacted me about this project and, of course, I said, yes.”

He explained his work process. “They knew exactly what they wanted – a Tree of Life, made like a Vancouver cherry tree in bloom. Usually, I start with a small draft, show it to my clients, make changes until they’re satisfied, before I transfer the design to glass. But the people from Schara Tzedeck were very nice. They approved my first draft of the design.”

The first step in making the sculpture was creating a life-size drawing out of the small-scale draft. “I hire a company for that,” said Nutter, “give them my small drawing, and they blow it up to the size I want.”

Once he has the full-size paper draft, he starts working on the glass. For this sculpture, he used nine separate glass panels. The three bottom panels are roots. “The words ‘Schara Tzedeck’ are carved among the roots, to symbolize the Jews who had set their roots with the congregation,” Nutter explained.

The middle panel is the trunk, and the five panels around it are carved with leaves and flowers. “I sandblasted each petal of each flower individually,” Nutter said. “It gives more depth to the sculpture.”

The work is made of 15-millimetre laminated glass; two layers joined together. The carving is on the back, and the names of the survivors are written on the front, in black, which adds to the visual depth.

Nutter has been working with architectural glass for decades. “I started as an architecture student at the University of Manitoba,” he recalled. “A couple years into my studies, I took a summer job with a stained glass company. I loved it so much, I left my schooling and stayed with the company for several years, before I founded my own company. I never finished my architectural degree, but I taught stained glass making at the same faculty years later.”

He loves architecture, and most of his works are large-scale glass. “Sometimes,” he said, “my background in architecture helps me to win the contracts. I often build small-scale models of my proposed installations when I bid for a job. I like the details and hardware used in the models. I learned that during my years of architectural studies.”

Frequently, Nutter’s sculptures and windows tell a story, like the one he created for Schara Tzedeck. “In the past, when artists made glass installations in churches and other religious institutions, it was always to tell a story, as most of the population were illiterate,” he said. “Now, people can read, so the art became more decorative, but it still tells a story.”

To learn more about the artist, visit johnnutterglassstudio.com or visit his studio on Granville Island. For those interested in purchasing the hardcover, full-colour commemorative book ($54), visit scharatzedeck.com/event/-shoah-survivors-tribute-book-order.html; the order deadline is June 30.

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

A mind-blowing exhibit

“Sunflowers” by Jocelyne Hallé.

The new show at Zack Gallery, #SeasonsAtZack features Instagram artists. A fundraiser for the gallery, the exhibit is extremely eclectic.

“The theme of the show is based on the theme of Festival Ha’Rikud, ‘Seasons of Israel,’” said Daniel Wajsman, marketing coordinator at the Jewish Community Centre of Greater Vancouver. “Every year, the gallery has a group show to coincide with the festival and the artists submit their paintings to the gallery. This year, we thought: why don’t we do social media instead? These days, everyone has a camera…. We all take pictures with our phones and share them with friends and family. This is one step further. Why can’t we share our photos with everyone? That’s what Instagram does – it is a site where we share our images with the world. That’s what we aimed for in this show at the Zack. We wanted to change the concept of what art is.”

The gallery started with the idea that only artists who have an Instagram account would be featured in the exhibit, but later opened the submission process to everyone, said Wajsman. All of the images from the show will be on the JCC’s Instagram page and prints will be available for purchase in different sizes and formats.

About a third of the photos in the exhibit come from a select group of people: staff members of several Jewish organizations, who went to Israel in April for a professional seminar. The organizations participating in the seminar were the JCC, Jewish Federation of Greater Vancouver, Jewish Family Services, Louis Brier Home and Hospital, Vancouver Holocaust Education Centre and Nava Creative Kosher Cuisine.

“We work closely together, but we don’t all know each other,” said Wajsman. “Some of us are Jewish, and some are not. The seminar had a double goal: to teach us about Israel and Jewish history and to connect us with each other.”

Regular visitors to the Zack Gallery will be familiar with many of the photographers in the exhibit. Some of the photos are by artists who have exhibited previously at the gallery – like Lauren Morris, Michael Abelman and others – and submitted photographs of their paintings for the show.

Another set of participants includes local masters of photography, such as Jocelyne Hallé, Judy Angel and Ivor Levin. Each one has more than one of their images on display.

Halle’s “Sunflowers” photo was taken recently. The bright sunny heads of the large flowers contrast sharply with the heavy stormy clouds overhead, and the juxtaposition evokes strong emotions. “It wasn’t Photoshopped at all,” said Hallé. “It’s just the way I took it.”

In contrast, Angel’s airy images glow and shimmer with transparent sunlight. They are so light, they seem translucent, able to fly off the wall like magical butterflies.

photo - “Umbrellas” by Ivor Levin — “Umbrellas” by Ivor Levin.

Beside them, Levin’s photos look like drawings, their colour schemes and compositions inspired by the rains and umbrellas of the autumn season in Vancouver.

New artists also have a strong presence in this show. For them, having their names under their art on the gallery walls is a fascinating experience. One of this crowd is Linda Lando, the Zack Gallery director. “I’m not an artist,” she said. “I’ve never displayed anything before.”

One of her photos, the colourful “Ein Gedi Night,” was taken on her trip to Israel, as a member of the seminar. “We visited Kibbutz Ein Gedi late at night,” she said. “It is a beautiful floral oasis in the desert. They have amazing flowers, and this blooming tree was near the entrance.”

Robert Johnson, also part of the seminar and a longtime JCC employee, has a couple of his photos in the show. One of them is particularly memorable: a photo of a camel with a sad expression, lying under a tree. The title of the photograph is “This is Not a Camel.”

“He talked to me,” Johnson said with a smile. “People were riding him all day, and he didn’t want to be a riding camel anymore.”

The variety of the images in the show is mind-blowing: from Israeli landscapes to mud bathers on the shore of the Dead Sea to abstract composition. #SeasonsAtZack continues until June 9.

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

Responding to the landscape

“ReView 2” by Ian Penn.

Ian Penn is not a new name for regular visitors to the Zack Gallery, which has exhibited his work before. “I like this gallery,” Penn told the Independent. “It’s like a public marketplace. It’s transparent and open. Children come in. Older people. People on the way from their lunch or the gym. The gallery is accessible, the way art should be. I could show at a traditional gallery, but I don’t want to.”

Penn makes one exception to this statement – for his homeland, Australia. “I have a gallery in Australia that represents me, and I exhibit there frequently, once or twice a year,” he said. “Last year, I was an artist-in-residence at that gallery. I gave artistic workshops to high school children. It was fun.”

His current exhibition at the Zack, From the Deck: View and ReView, is dedicated to landscapes, specifically the scenery he sees from the deck of his house: trees and mountains, water and clouds. Penn has painted these landmarks in different lights and different seasons. “I tried to capture different moods,” he said. “Some are grand, panoramic. Others are smaller, more intimate.”

He explained his idea behind the show. “View and re-view are two parts of the process. I look at the view from my house deck, have been looking at it for years. I enjoy the landscape from a single view. I take photographs. I sketch it multiple times. It’s my immediate response to the landscape. I’m part of it. I’m mapping it. This is ‘View,’ but it is not the territory, just a map. It is my understanding of the place.”

Penn’s View paintings are more abstract, sometimes just splashes of colour. What is important to the artist is that every element appears in the right size and shape in relation to the other elements. “I measure all the distances at this stage and mark the proportions. How far is this treetop from that ship passing through? How large are these bushes compared to that shoreline? I make lots of drawings.”

The second part of the process, the review, is done in the studio, later. “This is the second part of my response,” he explained. “I’d think: what is important in that idea? A ‘ReView’ is my emotional and physical answer to the ‘View’ and the landscape. It’s all about the place itself, the place and the painting. At this stage, I’m recreating the territory.”

photo - Ian Penn at the opening of his latest solo exhibition at the Zack Gallery, which runs until April 28 — Ian Penn at the opening of his latest solo exhibition at the Zack Gallery, which runs until April 28. *(photo by Olga Livshin)*

Unlike the bold brush strokes of his Views, most of his ReViews are more detailed, while still exploring the same landscape. And the ratio of abstract versus figurative slants towards the figurative. “I’m interested where representation and abstraction interact,” he admitted.

In his ReViews, a tree becomes a more detailed tree, not just a blob of yellow, even while maintaining its impressionistic abstract profile. A ship becomes more identifiable as a ship, not simply a dark squiggle. And a cloud can’t be mistaken for anything else.

In fact, clouds play a huge role in most of the paintings on display: light and fluffy in one image, heavy and menacing in another. “Clouds change constantly; that’s why they interest me. I’m fascinated by change, by periods of transition,” said Penn. “That’s why most of these paintings are done in spring or autumn. Those are the seasons of change. In summer, the landscape is full and the sky is clear, but, with autumn, comes change. The colours of the leaves change. When the leaves fall, the shapes of the trees change. The bones of the landscapes are transformed. The weather changes. Same in spring. By exploring those changes, I’m addressing the changes in our lives.”

By the juxtaposition of constant change within the same view – from one location – Penn follows in the footsteps of one of his favourite artists, Paul Cezanne. “I studied Cezanne. He painted Mont Sainte-Victoire countless times, all different,” Penn said. “He changed the landscape genre forever, took it apart and re-created it.”

Penn’s investigation of the landscape as an art form goes further. “A traditional landscape is horizontal, with certain set dimensions,” he explained. “I’m challenging those dimensions, trying landscapes of different formats. A portrait shape. A diptych, which is much wider than a traditional landscape. I’m playing with different geometry. What if the two parts of a diptych are of different widths: one square, another a wider rectangle? What if both parts are off-squares?”

Penn’s experiments with the shapes of his paintings, with the changing of weather and seasons, makes the show diverse. The exhibition demonstrates the richness of landscape as an art form.

“Landscape as we know it is relatively new in the modern Western art,” he said. “Before the Renaissance, landscape was mostly a background for figures in the composition. It only became a separate art form in the 16th and 17th centuries, after the paint tubes became small enough that artists could take them out of the studios, to paint on locations. That was what the Group of Seven did. That is what I do.”

Penn’s show runs until April 28 at the Zack. For more information about his work, visit ianpenn.com.

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

Tapestry up for raffle

Barbara Heller (photo by Olga Livshin)

Temple Sholom’s Dreamers and Builders gala is not only a time to celebrate, but to raise funds for the synagogue. In addition to honouring Jack Lutsky and Susan Mendelson, this year’s sold-out event on May 5 will include a silent art auction at the dinner and a raffle, the bidding for which has already started.

“We have art donations for the silent auction from members of the synagogue, Ian Penn and Ivan Gasoi, as well as from Dina Goldstein and Gordon Smith, and a tapestry by Barbara Heller for the raffle,” said Karen Gelmon, gala co-chair, in an interview with the Independent. “Barbara is a member of Temple Sholom and an internationally known tapestry artist. Her works are very valuable, unique and truly remarkable.”

Gelmon noted that the synagogue has several tapestries by Heller on its walls. “There are two magnificent pieces that are on either side of the ark at the front of the sanctuary,” she said. “They are wonderful and loved by the congregation. She has donated two other works that are in another room and are also very appreciated. All these pieces have been there for more than 20 years and are fixtures at the synagogue.”

The raffle features the tapestry “Stones 22 – Stonefall,” the 22nd in Heller’s Stonefall series.

“I have been weaving these tapestries of stone walls and stones on the ground every few years for decades, between more difficult pieces,” Heller told the Independent. “I love these stone walls, built by man without mortar or cutting the stones to fit. If these walls fell down, the stones would return to the earth and no one would be the wiser. Yet, I see the spirits of the people who built the walls. Their energy remains in the stones.”

Heller also likes that the tapestries are abstract. “I get to immerse myself in the act of weaving as I transform them from stone into wool,” she explained. “I play with the handspun and hand-dyed yarns, the textures and the colours, without worrying about the underlying message.”

photo - Fabric artist Barbara Heller has donated her work “Stones 22 – Stonefall” to Temple Sholom’s Dreamers and Builders fundraiser — Fabric artist Barbara Heller has donated her work “Stones 22 – Stonefall” to Temple Sholom’s Dreamers and Builders fundraiser.

“Stones 22” was woven in 2013. “It was based on the photos I took in Caesarea on the Mediterranean in Israel,” said Heller. “The site has been home to invader after invader for millennia. It has been an archeological dig since a farmer plowing the meagre soil first uncovered a large stone block and called the scientists. Here, there are definitely ghosts of the people who came before.”

About why she chose to offer one of her artworks for the raffle, she said, “When I was asked to donate a tapestry by Susan [Mendelson] and the organizing committee for Dreamers and Builders, I was happy to say yes. Susan and Jack have supported my art and own a few tapestries. Temple Sholom is my synagogue and has also supported me. It has several of my tapestries, some as donations and two on loan. The bimah is flanked by two of my tapestries that were commissioned at the time of my son’s bar mitzvah, and the library has a tapestry that my mother willed to the Temple on her death. Now, it was my turn to support them.”

The decision of which tapestry to donate was a practical one. “I felt it had to be mid-size, large enough to have a presence but not so large that it would not find a new home in a modern condo,” she said. “And the reference to Israel was also important to me.”

As an artist who makes a living by her art, Heller has given much thought over the years to the concept of donating work.

“It has been awhile since I donated artwork,” she shared. “There was a time a few years ago when art auctions were all the rage for fundraising, to the detriment of the artists. The fundraisers always stressed that the auctions would be good publicity for the artists, but I don’t think so. People always wanted a bargain when they bid at auctions, and I don’t think that the fundraisers were aware of the lost income for the artists.”

An artist must look at a donation as just that, said Heller, as a donation to raise funds for a charity they believe in. “I now do it only on occasion. I am reminded of what my friend, a pianist, does. When approached to play for free, she says, ‘You pay me what my normal fee would be, and then I will decide how much to give back to you as my donation.’ This makes the fundraisers aware of what they are actually asking.”

Gelmon and the organizing committee were well aware of what they were asking. “I think different artists may have different motivations to donate their art,” said Gelmon. “For Barbara, I think she saw this as a worthy cause. It is raising money for her synagogue, where she and her family have been members for years, and it probably gives her great pleasure to contribute.”

To take part in the raffle, visit templesholom.ca/dreamers-builders-2019-raffle.

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