Olga Livshin – Page 2

Processing the tragedy

On Sept. 28, Temple Sholom unveiled a new group exhibition in its gallery. “This is not a regular art show,” curator Rina Vizer told the Independent. “It is a commemoration of Oct. 7, of its hope and memories.”

Vizer has wanted to organize a show that would act as a fundraiser since the horrific terror attack on Israel last year.

“It has been the theme of my art from the moment I heard about the attack. I couldn’t process it in any other way than through my painting,” she said. “Last year, in September, we couldn’t even imagine that such an atrocity was possible. I wanted the other artists to do the same, to express what was beyond words through their paintings and share it with viewers.”

image - “HaTikvah” by Rina Lederer-Vizer is part of the Memory and Hope exhibit at Temple Sholom that Vizer curated to commemorate the terror attacks of Oct. 7, 2023 — “HaTikvah” by Rina Lederer-Vizer is part of the Memory and Hope exhibit at Temple Sholom that Vizer curated to commemorate the terror attacks of Oct. 7, 2023. *(image from Rina Vizer)*

At first, she contemplated the Zack Gallery as a venue but it had a schedule to maintain, and its shows were booked well in advance. “Then I discussed with our rabbi some other art installation, and I asked him: ‘What about a show commemorating Oct. 7?’ And he agreed that it was a great idea to reflect on this calamity through art.”

The timeline to find other contributors was very tight. “I started the process at the end of August,” she said. “My only condition [to the artists] was: it had to be new art, created as a reaction to Oct. 7. Nothing old would work.”

Vizer contacted several people she knew personally, including Vivienne Davicioni, Sidi Schaffer and Glenda Leznoff. “I’ve also seen the art of Olga Campbell, and I had heard about Zohar Hagbi and her intuitive art studio. I was sure both of them would be a good fit for this show. The Zack Gallery director, Hope [Forstenzer], recommended Brian Gleckman, who agreed to participate. In all, we have seven Vancouver artists in this show.”

image - “Tikun Olam” by Brian Gleckman is part of the Memory and Hope exhibit, which is at Temple Sholom until Oct. 28 — “Tikun Olam” by Brian Gleckman is part of the Memory and Hope exhibit, which is at Temple Sholom until Oct. 28. *(image from Rina Vizer)*

Vizer and Hagbi were born in Israel, Gleckman hails from the United States, Schaffer was born in Romania, Campbell in Iran, Davicioni in South Africa and Leznoff in Canada. Regardless of their countries of origin, all of them dedicated their artwork for this show to Israel, and all of the pieces reflect the traumatic impacts of Oct. 7.

Vizer’s paintings are not large, but they pack a punch. She signs her art as Rina Lederer-Vizer. “Lederer is my family name,” she explained. “But I only have one sister. When we go, the name will disappear. This way, I hope to keep it a bit longer.” Her painting “HaTikvah” is full of hope and despair in equal measure. A woman gazes up, her palms together in prayer, but her eyes are sad, her expression stark. Is she praying for the hostages’ return? Is she a hostage herself?

Another of her paintings, similar at first glance, is called “101 Days of Awe.” The woman in the foreground is from the diaspora, but her solidarity with the suffering in Israel is unmistakable. Like the figure in her painting, Vizer stalwartly expresses her solidarity with Israel.

“I have been attending the ‘Bring Them Home’ rallies every Sunday since last October,” she said. “We meet at the Vancouver Art Gallery at 2 o’clock. At first, there were thousands of people there each week. Now, it is a hundred or so, but I go.”

At one of the rallies, Vizer carried a banner with the name and image of one of the hostages, Carmel Gat, a therapist from Tel Aviv. Vizer was so moved by Gat’s plight she used the portrait at her family seder. “I was shocked and angry when I learned on Sept. 1 that Gat was executed in a tunnel,” she said. That was when she painted “Light in Tunnel.” There are darkness and death in those tunnels, but, contends Vizer, light always comes after darkness.

image - “I See You” by Olga Campbell — “I See You” by Olga Campbell. (image from Rina Vizer)

Like Vizer, Campbell’s paintings are mostly figurative. “I See You” depicts a face, fearful and anxious. There is a catastrophe unfolding in front of this person, and they are helpless to prevent it. Another of Campbell’s paintings, a number of shadowed figures on a foggy background, bears a fateful title: “I Didn’t Get a Chance to Say Goodbye.” Campbell’s third painting, a black and white collage reminiscent of an old-fashioned newspaper, has an even more explicit title: “October 7.”

The same title applies to one of Schaffer’s paintings. In a short email exchange with the Independent, she said about that horrible day: “The event had and still is impacting me very much. Early every morning, the first thing I do is turn on the TV to hear what’s happening in Israel. I am a child survivor of the Holocaust, and I hoped nothing like that would happen again, but the reality of today is different.”

Schaffer has two paintings in the show, and she explained her symbolism. “The small one is titled ‘October 7.’ It’s a collage. I have done it this year, not long ago. You can see prayer hands and a memory candle for those we lost. There is a child’s wooden rocking horse left without a child. In one of the videos after the horror, I saw a house totally destroyed. Only this horse alone remained on the front lawn.

“The second work is bigger and is titled ‘The Phoenix Reborn from Ashes.’ I worked on it for a few years, but, this year, inspired by the October tragedy, I finished it. I feel it gives hope of renewal, of better days to come, of freedom and joy.”

Leznoff, who is also a writer, talked about her experience joining this show. “I was invited to participate by Rina Vizer, who I met about a decade ago at Israeli dancing. This year, I have been very active writing letters to governments and organizations about antisemitism in Canada since Oct. 7. I had an op-ed in the National Post last January, when two British Columbia theatres canceled the play The Runner. Rina knew me as both an artist and a writer. She knew I have been very moved by the events, both in Israel and in Canada, so she asked me to contribute works I’ve done in response to the war.”

Leznoff’s two pieces in the exhibit are titled “Shattered” and “Morning Light.”

“The first painting is a mixed media piece that uses black ink and paint, yellow paint, a photo, dried flowers from my garden, and charcoal. The painting is abstract, however, there is a sense of something explosive and raw with the black paint,” she said. “For me, the yellow is a sign of hope, and the falling flowers are in memory of the tragedy of the flower children at the music festival.

“The other piece,” she continued, “is connected to a poem I wrote called ‘Winter Light’ that accompanies the painting. The poem is framed with the painting, and it’s about how the hostages and soldiers are always on our minds, and we are not giving up. Ironically, although I am a published writer, I hardly ever write poetry. I think both abstract painting and poetry handle emotional issues that are sometimes difficult to convey in a straight narrative.”

The Memory and Hope exhibit will be displayed at Temple Sholom until Oct. 28. The art is for sale and all proceeds from the sales will go to Hostages and Missing Families Forum: Bring Them Home Now, and Magen David Adom in Israel.

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

Artist’s portals to elsewhere

Artist Amy J. Dyck sits amid her work “Bed Desk,” one of the pieces in her solo exhibit, Portals to Elsewhere, which opened at the Zack Gallery last month. (photo by Byron Dauncey)

The art of Amy J. Dyck is surreal and enigmatic. Her solo show Portals to Elsewhere opened on Aug. 25 at the Zack Gallery. Like any portal, it allows a viewer a glimpse into the artist’s sophisticated and contradictory inner world.

“I loved drawing when I was young,” Dyck said in an interview with the Independent. “I liked little details: earrings, shoelaces. It was easy, like a game. Then I had a son and, like every young mother, I was always tired. Creating art at that point stopped just being fun. I needed to concentrate, to find time for my art, to figure out whether I wanted to spend that time. That was when I became a real artist.”

That wasn’t the only time life challenged her. “I wanted to be a designer,” she said. “I started at design school but, after one year, I became too sick and had to drop out.”

But she never abandoned learning – she taught herself, read textbooks and took occasional classes. And she never stopped creating – paintings and drawings, mixed-media collages and soft sculptures, ceramics and wood installations dominated her life, as she juggled being an artist with her non-artistic jobs, family and chronic illness.

Multilayered and metaphorical, Dyck’s collages and sculptures could be seen as a self-portrait of an artist battling a chronic disability.

“I’m often sick and can’t move much,” she said. “Sometimes, I spend several months in bed. That’s why I make soft sculptures. It’s easier when I’m in bed and can’t go to my studio. I have to be flexible with my materials and techniques to accommodate my illness.”

Despite the hardships associated with her ill health, Dyck’s works don’t display any bitterness or resentment. Instead, the artist is on a journey of self-discovery.

“I have to learn how to live in a body that’s broken,” she explained. “That’s what my art is about. My soft pieces are something I want to wrap around myself, to counteract my anxiety.”

All the sculptures on display at the gallery present complex knots of fabric, pipes stuffed with soft fillings. Combined with ceramic elements, leather, wood, feathers and other materials, these ouroboros reflect the artist’s struggles and her determination to live as fully as she can. Her philosophical piece “Blame Mosquito” is a fur ball with half a dozen ceramic hands coming out of it, pointing in all directions. “When I was young,” she recalled, “there was a traumatic event in my life. I blamed everyone – like those fingers pointing everywhere – until I realized that I myself carried some of the blame. That’s why one of the hands points back at me.”

“Yellow Polka-dot Tail” also has sharp, dark spikes coming out of the soft, colourful tangle and pointing everywhere. “Those spikes are like my anger. They help me feel powerful,” she said.

Another piece, “Wing Head,” introduces a strange single wing decorating the sculpture’s head. “The wing is not functional,” she said. “Just like parts of my body. It is a possibility of flight, an idea, not a reality.”

Dyck explores a body that doesn’t work well by creating allegorical figures with faulty anatomy, with the wrong number of fingers on a hand or mangled joints or tiny wings in the wrong places. “I’m processing my disability through symbolism,” she said.

She uses second-hand materials for her sculptures. “I buy old clothing at thrift stores or internet marketplaces. The leather came from our old couch. My kids helped me dismantle it and cut out the pieces I could use,” she said.

photo - “Wing Head” by Amy J. Dyck can be seen at the Zack Gallery until Oct. 1 — “Wing Head” by Amy J. Dyck can be seen at the Zack Gallery until Oct. 1. *(photo by Byron Dauncey)*

The theme of a body disrupted, of limbs disconnected, continues in her painting-like mixed-media collages. Many of them have images of open doors, windows or arches. “They are my portals to elsewhere,” she said. “When I’m in bed, when I can’t move, I look out of my window and imagine myself out there. I like being outdoors.”

The images are uncomfortable and deformed, but there is optimism, a strange equilibrium of what might be considered ugly and beautiful. Body parts surrounded by butterflies. Too many hands counterbalanced by birds and ghosts, black and white charcoal drawings incorporating splashes of real gold. All of them speak of a deep need to understand our own bodies, how they work and why they sometimes don’t. The style of the artist is unique and instantly recognizable, and that is what Dyck teaches aspiring artists – she offers classes at community centres and retirement homes. “I try to teach my students how to find their own voices,” she said.

One of the most interesting examples of Dyck’s art is an installation called “Bed Desk.” Dyck explained its etymology.

“I promised the gallery a sculptural installation, but then I became very sick and couldn’t leave my bed,” she said. “My husband is a builder. He made those wooden stands that surround the circular space and act as frames for my drawings. He also made me a bed desk where I could draw while in bed, but I could only create pieces of the same shape and size as the desk surface. I channeled my longing to move, to feel strong into those drawings. The figures I drew are broken, like me, but they move, they grow, they adapt and evolve. The installation was funded by a Canada Council for the Arts grant. When you step into its circle to view the drawings, you enter your own portal to elsewhere.”

Dyck’s show will be at the Zack Gallery until Oct. 1. To learn more about the artist and her work, visit her website, amyjdyck.com.

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

Art as a form of storytelling

Sarah Dobbs is the new manager of the Sidney and Gertrude Zack Gallery at the Jewish Community Centre of Greater Vancouver. (photo from Zack Gallery)\

The Sidney and Gertrude Zack Gallery has a new manager, Sarah Dobbs, who showed an early affinity for her chosen field.

“My first time as a gallery host happened when I was about 8 years old,” she told the Independent. “My father was a journalist and a travel writer, and we lived in many countries when I was young: Spain, France, Morocco. Everywhere, my parents took me to art galleries, and I loved it.

“In the 1960s, while we were in Mexico, we often went to the local market. My father bought colourful folk sculptures. It was long before they became popular, we started collecting them. After we returned to Toronto, my family decided to have an exhibition of our collection. I was there, too. I enjoyed talking to people who came to see the show. I told them stories about this sculpture and that one. I liked sharing another culture with the people in my city. This entire experience had a huge impact on me. Even though I was young, I realized that art was storytelling. Art reflects our understanding of people and cultures.”

After receiving her degree in art history from the University of British Columbia and a master’s of education from the University of Toronto, Dobbs worked in the art world for more than 30 years.

“I ran commercial galleries and public galleries,” she said. “In the mid-’90s, I opened my own gallery, where I displayed mostly abstract art. I love abstract. Anyone can read their own story in an abstract painting.”

One of Dobbs’s most interesting projects happened when she was the director of the Burnaby Art Gallery.

“Part of my job there was to increase our interactions with the community,” she

explained. “I started an outreach program for people who would never go to an art gallery on their own, specifically youths right out of jail. They were young. Most of them had yet to graduate from high school. We gave them disposable cameras and suggested they take photos of what was important in their lives (but not drugs). Then they would do collages of their photos and we displayed those collages in local bus shelters. Those collages reflected the teens’ lives, perhaps helped them to come to terms with it. The collages were also an opportunity for all of them to share their lives and their concerns with the wider public. I’m proud to say that all of our participants graduated from high school.”

Projects like this, integrating art and public awareness, have accompanied Dobbs throughout her career. From 2002 to 2008, she worked in Ireland, at the National Gallery of Ireland and at the Irish Museum of Modern Art.

“We worked with hospital patients, but it wasn’t art therapy,” she said of that experience. “It was just doing art, participating. It reminded sick people of their healthy selves.”

Everywhere she has worked, Dobbs has helped people tell their stories through art, helped them deal with their suffering.

“In 2004, I was invited by a nurses’ charity to go to Sri Lanka for five weeks, to help the tsunami victims,” she recalled. “So many died there, children, old people. So much pain. I tried to do what I could to help, to ease that pain – I brought 98 kilos of art supplies with me.”

Later, in Kenya, she lived in a women’s peace-building village for a time.

“There were women from different tribes there, the tribes that were at war, that committed atrocities towards each other. But those women tried to build peace,” said Dobbs. “We would sit together and share stories. When women from different tribes saw similarities in their stories, felt their stories resonate with everyone, it helped in the peace-building process.”

Dobbs has curated about 200 art exhibitions. In her opinion, deep knowledge of the art world is only part of being a successful curator.

“Of course, you have to be passionate about art,” she said. “But you also have to be very organized. You need to be patient with the artists – they are very sensitive. Encouraging artists, especially young artists, boosting their confidence is paramount. It helps them tell their stories. And you also need to be aware of who is going to see the art – to keep balance between artistic expression and public understanding. Sometimes, the latter could be a challenge. Another ongoing challenge is convincing people that art has value.”

Those challenges can be exhausting, and even a successful art curator occasionally needs a break. Dobbs took such a break during the pandemic. The timing made sense, as most public spaces closed in 2020.

“For three years, I ran an integrated clinic, including traditional medicine, a naturopath, a massage therapist, etc. A break is good,” she said, “but I always come back to art. Sharing art with everyone is my joy.”

That’s why when the JCC announced that the Zack Gallery needed a new manager, she applied for the position.

“I have known about the Zack Gallery forever,” Dobbs said. “It is a wonderful place, a blend between a public gallery and a commercial art space. The gallery runs community exhibits. There is a theatre next door, which brings people in before the shows and during the intermissions. Children come in often. That is how art education starts for most of us, when a child wanders into an art gallery.”

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

Pride in his Jewish identity

Brian Gleckman in front of his work, “The Judgment of Solomon (Psak Din: Judgment).” Psak din is a ruling given by a beit din, a Jewish court. (photo by Olga Livshin)

Brian Gleckman’s first show at the Zack Gallery, Abstracted Identity, opened on June 18.

The artist has loved art since childhood. “I grew up in Los Angeles,” he said in an interview with the Jewish Independent. “It is a vibrant city for visual arts. There are an endless number of art galleries and museums, and I was always there. And, of course, I always drew and painted.”

After getting his degree in visual art and history from California State University, Gleckman traveled extensively around Europe, before settling in Vancouver more than 30 years ago. But traveling has remained his passion and, during his travels, he invariably focuses on art and art history, museums and galleries.

“When I first visited Europe, I fell in love with Rococo and Baroque,” he said. Baroque and Rococo are both highly ornamental styles, which infused the art and architecture of post-Renaissance Europe.

Later, he drifted towards more contemporary styles, both as an art connoisseur and in his own work. “I suppose I can call my art abstract expressionism,” he said.

“Colour for me is a vehicle that allows me to play with shapes and space,” Gleckman explained. “Spatial relationships and composition of the images are of the utmost importance to me. I’m also concerned with depth and texture. I aim to create visual tension in my paintings. I think art shouldn’t be too easy or too comfortable. I want my viewers to engage, to ask questions. ‘What did he mean by that?’ ‘How does it make me feel?’ My viewers might not arrive at the same inner realization I conceived, but their explorations are more important than my answers. When people interact with my art, they become part of the creation process.”

With his current show, Gleckman seeks to “portray things that lie beyond the tangible – that is, beyond the figurative, beyond the readily recognized narrative. The paintings in this exhibit are expressions of the inspiration I derive from biblical stories, religious thought, as well as rudimentary ideas within kabbalah. Selected from the portfolios of my professional artwork, these paintings are reflections of how I personalize the intangibles of Judaism.… These paintings are abstractions of my Jewish identity, an identity that is the product not so much of formal religious practice but the summative effect of intellectual and emotional sensibilities of my Jewishness.”

Of course, the Jewish Community Centre of Greater Vancouver, which is home to the Sidney and Gertrude Zack Gallery, felt like the perfect venue for such a show, but there was an additional reason why Gleckman wanted to exhibit at the Zack.

“After Oct. 7, I wanted to do something that had meaning,” he said. “I wanted to share my pride in my Jewish identity. At the same time, I wanted to be part of the effort to help Israel, to make my own contribution. But I am an artist. I create art. I thought maybe my art could inspire someone to do something for Israel, to help in some way.”

He approached the gallery with the idea of a show and offered to donate any proceeds from the sales of his paintings.

“I’m going to donate whatever I get to two organizations: ASI-Canada (Association for the Soldiers of Israel), which supports active-duty IDF soldiers, and Magen David Adom, which is Israel’s emergency response service. To promote the sales, I’m also offering 30% discount off my website prices for all my paintings.”

The exhibit comprises 27 paintings from several of Gleckman’s established series. “For this exhibition, I have included paintings that are accompanied by titles … for fuller comprehension,” he said.

“The titles invite viewers to search for and reflect on the nuances of their own understanding of the selected stories, themes and ideas,” the artist explained. “I’m not trying to dictate my own interpretations to viewers. Instead, with the titles, I try to nudge viewers in the right direction. The titles are sort of guidelines for understanding the images, their conceptual representation.”

image - “Yerushalayim (Jerusalem)” by Brian Gleckman. The Hebrew words in the painting are from Psalm 137: “If I forget you, O Jerusalem, may my right hand forget ... if I do not bring up Jerusalem at the beginning of my joy.” — “Yerushalayim (Jerusalem)” by Brian Gleckman. The Hebrew words in the painting are from Psalm 137: “If I forget you, O Jerusalem, may my right hand forget … if I do not bring up Jerusalem at the beginning of my joy.”

Most of the titles are in Hebrew, spelled phonetically in the English alphabet. Some are in English, but they represent Jewish customs and stories. For example, the large painting “Tikkun Olam” is a field of life-affirming blue, while “Shiva” is bleak and dark, a painting of grief and despair, but both will generate different feelings for everyone.

A few other paintings are linked to grief and death, but many sport bright colors, like “Aytz Chaim” – blue and gold and triumphant – which proclaims the artist’s vision of the Tree of Life. The painting, tall and narrow, is framed by golden words.

Another tall and narrow painting, “Tefillah” (a prayer), contains this one word in Hebrew, as well as 10 bright gold stars dancing on the blue background below, representing a minyan, the quorum of 10 men (in Orthodox Judaism) or people needed for Jewish communal prayers.

Another painting with words and colours woven together is “Yerushalayim.” Its golden-brown palette is reminiscent of the ancient city of Jerusalem, its modernity and its millennia of history, including conflict.

Then there are calligraphed Hebrew letters, each magnified manifold on its own black and white canvas. “Their shapes are still recognizable,” said Gleckman, “but I wanted to explore the possibilities, the situation where something we know becomes something else, something to investigate and find a new meaning.” Each of these letter-paintings is like a road, curling capriciously according to the letter’s design, leading the viewers towards the unknown.

Abstracted Identity runs until July 18. To learn more, visit the artist’s website, briangleckman.com.

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

Cultural constellations

Lindsey Tyne Johnson has a new show at the Zack Gallery: The Irish Mazzaroth & Hebrew Spelled Backwards. It comprises two separate parts.

Hebrew Spelled Backwards debuted at the Kamloops Art Gallery in 2023. It is a series of illustrations in which the artist explores her Jewish heritage.

“When the show finished in Kamloops, the Zack Gallery director contacted me,” Johnson told the Independent. “But the show had only seven pieces, and the Zack Gallery is large. It needed more art.”

At about the same time, Johnson decided to delve deeper into her ethnic roots. “My mother’s family were Irish Jews,” she said. “Not a usual combination. I went to Ireland in February 2024 to find out more.”

She was fascinated by what she discovered. “Jews appeared in Ireland in the 1500s,” she shared. “Later, antisemitism forced many of them to leave, but they came back again. Then, there was a wave of Jews who came to Ireland and Northern Ireland from Russia in the beginning of the 20th century – they were escaping pogroms. Someone tricked them, sold them tickets to New York, but delivered them to Ireland instead and kicked them off the ship there. Some persisted in traveling to America, but others settled in Ireland. And then, there were the Jewish children escaping the Holocaust in Europe, Ireland took them in.”

When Johnson visited the Irish Jewish Museum in Dublin, she found a number of her ancestors. “Their names were all written up in the Book of Irish Jewry there,” she explained. “The museum staff asked me if I wanted my name to be added to the new edition of the book. Of course, I said yes.”

The second part of the show, Irish Mazzaroth, started taking shape in her mind while she was in Ireland. The 12 black and white illustrations on the gallery walls reflect Johnson’s take on the zodiac’s traditional imagery. Mazzaroth means constellations in Hebrew.

Both Jewish and Irish lore have a long record of zodiac interpretations, from Greco-Roman mythology to the Zodiac Wheel, the centrepiece of the sixth-century mosaic at Beit Alpha in Israel.

image - “Virgo” by Lindsey Tyne Johnson, part of Johnson’s solo exhibit at the Zack Gallery until May 9 — “Virgo” by Lindsey Tyne Johnson, part of Johnson’s solo exhibit at the Zack Gallery until May 9.

Johnson, a young Canadian artist, has succeeded in meshing seamlessly Celtic symbolism and Jewish mysticism into a series of computer illustrations that are uniquely hers.

“I started the first one in January. I finished the last one just before the show,” she said. “Each one is a well-known astrological sign, and each involves some aspects of both Jewish and Irish culture.”

Every illustration is a whimsical little story, a playful tale that connects all earth cultures to one another. The images are clean and austere, uncluttered by unnecessary details. The twin girls in Gemini smile at the viewer. In front of them are Shabbat candles and a challah. Behind them, a leafy tree rises in the Irish countryside. Their quiet joy is unmistakable.

On the other hand, the lone girl in Scorpio is solemnly considering the riches of ancient books in the famous Old Library in Trinity College in Dublin. She seems breathless with excitement at the abundance of choices in front of her, her braid curling up defiantly like a scorpion’s tail. The Jewish thirst for knowledge is given form in the context of the historical Irish library.

In another famous location in Dublin, the Temple Bar pub, Johnson features, in Virgo, an Irish Jewish woman playing a fiddle, merging lively Jewish klezmer and Celtic tunes.

image - “Leo” by Lindsey Tyne Johnson — “Leo” by Lindsey Tyne Johnson.

In Leo, the backdrop is grimmer. It depicts the Crumlin Road Gaol, hinting at the political strife in Ireland, while the man in front reminds us of the story of Daniel and the lions. “One of my distant relatives worked as a prison guard there,” Johnson said.

The frames of every illustration are identical: a rounded rectangle of Celtic knots, tied together at the top by a Magen David, which also emphasizes the affinity of two cultures.

The Irish Mazzaroth & Hebrew Spelled Backwards is on display at the Zack Gallery until May 9. To read more about Johnson and Hebrew Spelled Backwards, go to jewishindependent.ca/artfully-exploring-heritage.

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

Art helps bring us together

The current show at the Zack Gallery, Community Longing and Belonging, brings together a range of artists and styles. Pictured here is Alejandra Morales’s “A Landscape of Consumable Dreams.” (photo by Olga Livshin)

The current show at the Zack Gallery, Community Longing and Belonging, which opened Feb. 21, is the sixth annual exhibition in celebration of Jewish Disability Awareness and Inclusion Month.

The exhibit was organized by the Jewish Community Centre of Greater Vancouver’s Inclusion Services and curated by Shelly Bordensky, the program’s coordinator. Most participating artists are either members of the JCC program or similar ones in other localities, like Aspire Richmond. These initiatives support people with developmental disabilities through various creative endeavours.

The Zack show’s creative displays consist of paintings and pottery. While the size, media, colour palettes and framing of the works are all different, the underlying theme is the same: we all want to belong, we are all together on this planet.

Two paintings reflect that theme not only in their content and method of execution, but in their titles as well: “All Together 1” and “All Together 2.” Both works are cheerful and colourful, rendered with the abandon of the primitivism style. Cats and birds frolic on the canvas without regard for one another or for rules of perspective. Both list the artist as Art Hive, the visual art division of JCC Inclusion Services.

Bordensky told the Independent that both paintings were group pieces, created by several people. “Each artist added an element – a cat or a bird – and our wonderful art instructor, Kim Almond, made sure they all matched in style and colours.”

According to Almond, 13 artists, all members of Art Hive, participated in each painting.

“Mark Li and Andrew Jackson started off the two collaborative paintings for the group, and it was a great project to work on as a class,” she said. “Colours were a huge part of the process, as the artists were always striving to create that special pop of colour.”

Another example of group art is the pottery creations – playful little animals, solemn hamsas (hands) and juicy pomegranates – crowding several stands around the gallery.

“These ceramic pieces are all Raku ceramics by the pottery artists who are members of our Art Hive,” said Bordensky. “Together, we can create so much.”

Individual artists’ paintings are also on the theme of community.

Alex Lecce’s untitled piece is a slice of a neighbourhood street with a pie shop. The colours are realistic, and the image captures a quiet, everyday moment. We all go there, the artist seems to say. Those pies make our lives happier and more flavourful. They unite us in our humanity.

On the other hand, Alejandra Morales’s painting, “A Landscape of Consumable Dreams,” is jarring in both the colour palette and the structure. This painting screams of discord. There are two disparate parts in the image. The top part is a tangled bunch of flowers, all in beautiful, greyish lilac hues, intertwined and elaborate. The bottom part is a vague human figure bowing to the pretty flowers. The colours of the figure are harsh, grating; they don’t fit with the flowers. But the figure obviously wants to fit, just as we all want to fit in with our surroundings. The complexity of the juxtaposition of humans versus nature is unmistakable.

Other paintings are not as complicated. Mami Zimmerman’s “Best Friends” features two ponies. Its simplicity is charming and lovely. We all want such friends.

image - Mami Zimmerman’s “Best Friends” — Mami Zimmerman’s “Best Friends” *(photo by Olga Livshin)*

Calvin Ho’s painting “Nuts” is another example of primitivism in the show. The bright depiction of a squirrel and a woodpecker is reminiscent of picture books from our childhood. Bold lines and primary colours underscore that feeling. The two creatures are playing tug with a nut. Or maybe they are sharing it. Or fighting over it. The innocence of the picture invariably induces a smile.

image - Calvin Ho’s “Nuts” — Calvin Ho’s “Nuts” *(photo by Olga Livshin)*

In contrast, Merle Linde’s powerful landscape – “BC Wildfire 2023” – doesn’t invite smiles. The painting, its red and black scheme grim and scary, reminds us of the horror of the wildfires that affect our forests every year. The tragedy implied in the painting unites us, just as the sweeter emotions in other images do.

In a telephone interview with the Independent, Linde said: “I’ve always enjoyed art, from the day I could hold a pencil. I liked going to art shows, too.” Mostly self-taught as an artist, she said she only started painting seriously after she retired.

Judaica is one of the directions she explores in her art. To date, the Independent has used two of her paintings for its cover: for the 2023 Passover issue and for the 2022 Rosh Hashanah issue. Occasionally, she teaches classes for seniors in various artistic techniques.

Merle Linde’s “BC Wildfire 2023” *(photo by Olga Livshin)*

“Acrylic pour is a fascinating technique,” she said. “You pour the paint and let it spread as it will without a brush, and then wait till it dries. That was what I did for the background of the ‘Wildfire’ painting. I made it a few years ago. When I saw the news about the wildfires last summer, I picked up a brush and painted the black burned-out tree skeletons on top. I have two such paintings, but there was only space for one in the Zack show.”

Most of the paintings in the show express themselves at first view. However, Gail Rudin’s “Out for the Hunt” raises questions. It portrays four seemingly perky owls on a merry, greenish background. One could assume a light-hearted company of friends on an outing, until one notices a line of tiny mice scurrying away in terror in the very bottom of the picture. Suddenly, the entire image changes its meaning, illustrating the unavoidable conflicts within nature, where the hunters and the hunted coexist. Despite the constant danger of the wild, nature somehow always finds its balance. Maybe, as humans, we could take lessons from that.

Community Longing and Belonging is on display at the Zack Gallery until April 2.

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

Sculpturing with wood

“Constellation” by Rosamunde Bordo. (photo by Sol Hashemi)

Every true artist at the start of their career undergoes a period of intense search: for their voices, for their themes, for their artistic expressions. Rosamunde Bordo is at that exciting stage now. She is searching. Her show at the Zack Gallery, Morning Star, reflects her creative explorations.

A professional artist today, Bordo has always loved art.

“As a child, I went to a school with a strong art program. I painted. I played saxophone. My parents always encouraged my interest in art,” she said in an interview with the Independent.

photo - Rosamunde Bordo’s solo exhibit, Morning Star, is at the Zack Gallery until Feb. 7 — Rosamunde Bordo’s solo exhibit, Morning Star, is at the Zack Gallery until Feb. 7. *(photo from Rosamunde Bordo)*

After a bachelor’s in liberal arts and print media at Concordia University in Montreal (2014) and master of fine arts degree in visual art at the University of British Columbia (2020), Bordo teaches printmaking at UBC. But her artistic interests range much wider than printmaking. Her newly emerging passions include the creation of installations and woodworking.

“I started woodworking last spring,” she said. “In this show, I use different woods: maple, cherry, walnut. I’m fascinated by the process of turning wood into sculptures. In a way, woodworking is similar to printmaking. Both use technology but, unlike two-dimensional printmaking, woodworking offers three dimensions. In woodworking, I try to find the story of the material, try to immerse in material-based research to investigate the self as a created subject.”

Bordo began woodworking when she started her ongoing installation project, The Denise File.

“It is almost a work of detective fiction, written through physical space,” she explained. Using found postcards written to someone named Denise, Bordo “wanted to reconstruct who the elusive Denise is, to figure out what the letters meant, to show her essence through objects, sculptures and drawings.”

She built some wooden furniture for The Denise File – a screen and a chair – and wanted to do more, to explore all she could do with wood. Her current show, comprised mostly of several sculptures, has its roots in a Jewish magic class she took at her synagogue in 2021.

“I wanted to understand Jewish history, its mysticism and its superstitions,” she said.

Each figure on the gallery wall could have originated from the ancient writings of many nations.

“It could be ancient Hebrew or Aramaic or even Greek,” Bordo mused. “All the cultures in that region were interconnected. I see the entire show as a healing amulet, but I didn’t want to assign my own meanings to the individual figures. I wanted them to be mysteries for my viewers to investigate. I wanted the viewers to be detectives and I didn’t want to influence them with my personal vision, didn’t want to limit their imagination.”

That’s why she titled every “Constellation” figure with a number. “They could be stick figures – they are very simple – but I see them as constellations, stars connected to each other,” she said. “That’s why the show is called Morning Star. The world is a difficult place right now, and the morning star is a symbol of renewal.”

Bordo’s constellations are deceptive, looking a bit like wooden hieroglyphs, or perhaps molecular structures, each with its own character.

“The one with a leg sticking out of the wall – it wanted to be playful, maybe escape from the wall,” she said. “I was looking for harmony when I worked on them, but I didn’t want to force them into locked shapes. I wanted to give them their own personalities. Besides, I try to respect the wood I work with. It is alive. There are many ways one could interpret a wooden sculpture.”

In addition to the constellations on the gallery walls, there is also a video called Potion, which comprises four minutes of rotating green abstract patterns. Postcards with a single image from the video form another part of the installation. The text on the back of the postcards reveals the artist’s motto for this show: “Ideas are to objects as constellations are to stars.”

There is also a small table with a slab of pink salt on it.

“Placing salt in your pockets and in the corners of rooms was a well-known Jewish superstition to ward off malevolent spirits,” Bordo said. The table with the salt stands in the corner of the gallery, hopefully repulsing malice. We all need that in our troubled times, she explained.

The show opened Jan. 5 and will be on display until Feb. 7. To learn more, go to the artist’s website, withoutimages.com.

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

A land of contradictions

Sorour Abdollahi’s solo exhibit Intersecting Landscapes is now at Zack Gallery. (photo by Olga Livshin)

Over the years, Iranian-Canadian artist Sorour Abdollahi has participated in several group shows at Zack Gallery, but the current exhibition, Intersecting Landscapes, which opened on Sept. 7, is her first solo show here.

“Sorour is definitely not the first non-Jewish artist with a solo show at the Zack,” said gallery director Hope Forstenzer. For years, the mission of the Zack Gallery, which is in the Jewish Community Centre of Greater Vancouver, has been to showcase Jewish artists and art dedicated to Jewish themes, she said. Non-Jewish artists were not excluded, but they usually appeared in group shows.

“The big difference in the past few years,” said Forstenzer, “has been an expansion of the definition of a Jewish theme to include a wider variety of human universal experiences that reflect on Jewish cultural history and traditions.… Sorour’s work, while not as overtly Jewish as some, addresses the concept of diaspora and its impact on culture and memory. When we made the decision to show her work, it was based on the concept of a cultural nostalgia for home as an inherently Jewish theme. And the response to it, so far, has borne that out – it has had a very strong emotional impact on the community here at the JCC and has already engendered discussion of the Jewish diaspora.”

Abdollahi has been a professional artist all her life. “I’ve always painted, since I was a child,” she told the Independent.

She received her art education in Iran, and her first solo art show happened there in 1987. A successful artist, working in mixed media and acrylics, she regularly exhibited in Iran, participating in multiple group and solo shows in various cities, including Tehran and Isfahan. The only big gap in her exhibiting schedule occurred when she immigrated to Canada. “We came here in 2000,” she said. “We did it for the children.”

Like all immigrants, she struggled with the new language and new culture. “It was several years later, when my children grew older, that I enrolled in Emily Carr [University of Art + Design] part time,” she recalled. “I wanted to become familiar with the local art scene, with the educators and the artists. I wanted to become a part of the local artistic community. And it worked beautifully. My friendships with wonderful Vancouver artists Devora and Sidi Schaffer stem from those days.”

Five years after her immigration, Abdollahi felt immersed enough in the British Columbia art vista to open her own studio and gallery in Yaletown.

“People would pass my gallery on the street, and some would come in,” she said. “They asked questions. I felt that my art connected.”

That connection gave her the courage to join the Eastside Culture Crawl – the biggest visual art festival in Vancouver – 10 years ago.

Abdollahi’s current show at the Zack represents the scope of her art perfectly. It consists of old and new paintings from several different series. A blend of abstract and figurative art, her paintings are airy and bright. Most of them have vague architectural connotations and employ a predominantly blue and green palette reminiscent of spring and rebirth. The abstract forms, sometimes utterly modern, often reveal faint outlines of ruins, shimmering in the mist, in the background.

“I grew up in the land of contradictions, where a traditional way of living juxtaposed a modern, Western lifestyle,” she said. “Those contradictions manifested in the landscape surrounding me, the historical against the contemporary, with layers of change and transformation.”

Immigration to a new country profoundly impacts her imagery.

“In my paintings, I examine the relationship between memories and the external landscape,” she said. “My Iranian background and my Canadian experience have had an enormous influence on my works. They inspired a negotiation between the modern and the ancient, the old and the new, the West and the East. Ancient ruins and Persian architecture play a pivotal role, too. They have enabled me to express the conflict and the negotiation process that often exists between two different cultures or societies. While the ruins speak of a mysterious, pure and mystical past, they also illustrate the corrosive effect of time and modernity, the constant reconfiguration of a country’s landscape, architecture and culture. The dripping paint in many of my pictures also illuminates the process of renewal. The old slides down, while the new grows over it. My paintings attempt to form a bridge between the past and the present.”

Two of the paintings particularly stand out. “The Magical Carpet” is a collage, full of the whimsical patterns, warm hues and bright shapes of a traditional eastern bazaar, with the artist’s customary ruins in the background.

Another painting, “Letters from Beyond”, with its strong punch of red paint, uses fragments of writing that are wholly imaginary. “The language and the letters in that writing don’t belong to any nation,” Abdollahi said. “I created it because I believe that we are all the same people. We should have no borders and no different languages separating us. That’s why I wanted to have a show here, at the Jewish Community Centre. I feel like my art is a link that connects us all.”

Abdollahi’s works can be found in private collections in Canada, the United States, the United Kingdom, France, Australia, Saudi Arabia and Iran.

Intersecting Landscapes runs until Oct. 12. For more information, visit sorourart.wordpress.com.

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

Zack exhibit celebrates nature

Enda Bardell (photo from Enda Bardell)

Creativity manifests itself in people’s lives in different ways and at different times. For Enda Bardell, various forms of art occupied her for decades, while Mike Cohene discovered woodcarving only a few years ago, on his way to retirement. Their double show, Artistry in Wood and Water, opened at the Zack Gallery on July 26.

Bardell told the Independent that she was born in Estonia. In 1944, when she was a young child, her family fled from Estonia, then occupied by the Nazis, to Sweden. Her mother worked at a paper factory there, and Bardell played with paper dolls she made herself. She also drew all the dolls’ colourful outfits. “I gave the dolls away to other girls, to make friends,” she recalled. “My first attempts at fashion design.”

A few years later, the family was forced to move again. The Russian communist government wanted the return of all the Estonians who had escaped the Nazis during the war, and Sweden was going to comply with that demand. But Bardell’s father didn’t want to live in communist Russia, so they became refugees again, this time ending up in Canada.

“In 1951, we came to Winnipeg,” said Bardell. “I went to school there and I desperately wanted to fit in. To belong. To be Canadian. I participated in many school clubs and activities. Entered an art class, too. My teacher praised me and recommended that I send one of my drawings to an interschool art competition. I did. And I won. I knew then that I was an artist.”

Interested in landscapes and abstracts, Bardell painted a lot as a teenager, but, after her high school graduation, she became deeply involved in fabric art. “I sold my batiks at craft fairs and house parties. People liked them, and someone suggested I should open my own store,” she said. “I did. I designed lots of different textile objects: skirts, pillowcases, aprons, etc. I felt that I needed a business course, in addition to my art education, so I took it. My store was very successful.”

But, as soon as the store achieved that success, running it lost its challenges. “I became bored,” said Bardell. “It was time for a change.”

She sold the store and did many other things in her professional life. “I always want to try something new, something I’ve never tried before. At one time or another, I was a lamp designer. I worked in banking. I was a realtor. I designed costumes for the Vancouver movie industry,” she said.

She also traveled a lot. “I have visited 38 countries. I like adventures, like it when I can’t speak the tongue. Then I have to express myself through body language. I have to be creative,” she said.

Art always shimmered on the periphery of her life, a constant creative supplement to her various commercial careers. First, abstract oils and acrylics, and, later, watercolours. Painting eventually metamorphosed into the focus of her existence. In the past two decades, she has participated in multiple solo and group exhibitions in Canada and abroad. In 2008, she even participated in an art show in her native Estonia, the Estonian Art in Exile exhibition at KUMU, the National Museum of Art in Tallinn. KUMU acquired one of her acrylic abstracts for their permanent collection; another of her paintings is in the Tartu Art Museum in Estonia. Her paintings are represented by many local galleries.

The current exhibition at the Zack is the result of a trip Bardell took to Yukon shortly before the COVID pandemic temporarily closed all travel. “My son lives in Yukon,” she said. At his prompting, she applied and was granted residency for one month at Ted Harrison Cabin in 2018. “We hired an RV and traveled there for two weeks,” she said. “Yukon was amazing: mountains, rivers, lakes. The place resonated with me. I took 1,400 photos during our travels. Based on the selection from those photos, I painted 40 watercolour pieces during my stay at the cabin. It was a privilege to stay in that wonderful place, especially because I had met Ted previously.”

Many of Bardell’s paintings in this series involve rivers and lakes. “I like water,” she said. “I have always lived on the water, except for one year in Winnipeg. I swim year-round here, summer and winter. Sometimes, I have seals swimming with me. It feels magical.”

When she submitted her Yukon series to the Zack Gallery, it was accepted, on the condition that it would be a double show, as gallery exhibitions must have a Jewish connection. Bardell’s Jewish connection became Mike Cohene, a local woodcarver. His colourful carved fish complement perfectly Bardell’s watercolours of Yukon’s rivers and lakes.

Unlike Bardell, Cohene didn’t do anything artistic until 2009. “I had a solid clothing business,” he said. “Awhile back, I started thinking about retiring and selling the business.”

photo - Mike Cohene — Mike Cohene *(photo by Linda Babins)*

In the summer of 2009, Cohene visited Steveston Farmers Market. “They had a booth of the Richmond Carvers Society – I thought their works were outstanding,” he said. “I always whittled but I never considered myself artistic. I started talking to the man in the booth, expressing my admiration. He said anyone could learn to do it. He invited me to come to the club meeting in September. I went.”

Since that day, he has learned a lot about the artistry and the technique of woodcarving. His journey began with woodcarving classes at the society. Later, he took a course at Emily Carr University of Art + Design and enrolled in carving workshops.

“My first carving was a bear cub,” he said. “Then I made a dolphin. Then I started carving fish and birds…. I’ve always been a fisherman, but I never studied fish anatomy before. I caught a fish and tossed it into a bucket. Now, I catch a fish and study it: the fins, the tail, the scales, how the colours change. I look at fish from a new perspective.”

In 2017, Cohene participated in his first two-artist exhibition at the Zack Gallery, with photographer Joanne Emerman. Since then, his art has become even more refined. “I learned more sophisticated techniques and tools,” he said. “I got several residencies in B.C. and Oregon.” Three years ago, he began teaching woodcarving to other Richmond Carvers Society members.

To create his wooden creatures as life-like as possible, Cohene uses various reference materials. “Mostly I use my own photographs,” he said. “When other people photograph wildlife, they give it their own interpretation, but I want to follow my own vision.”

His statues of fish include rocks and corals, all carefully carved and painted in bright, realistic colours. “Sometimes, one statue takes up to 20 coats of paint – different wood parts absorb paint with different intensity,” he explained.

He also uses tree branches as mounting blocks – they are not carved, just sawed off, polished and lacquered. “I only use dead wood for my statues. I often walk along the beach and pick up interesting pieces of driftwood. I’ve never harmed even one living tree,” he said.

Recently, Cohene has started exploring First Nation carving. The motifs attract him, and he has several pieces on display at the gallery, including two decorative oars.

He also creates Judaica – mezuzot, chanukiyot and dreidels – some of which can be seen at the gallery. Cohene has been to Israel 34 times. “Once, I brought 12 kilograms of olive wood with me from Israel, and I make many of my Judaica pieces from the reclaimed Israeli wood,” he said. “Olive wood has such a beautiful texture. And dreidels are fun to make.”

Whatever he works on, Cohene always gives it his all. “For me,” he said, “woodcarving is a form of self-fulfillment.”

Artistry in Wood and Water runs until Sept. 5. To learn more, visit the artists’ websites: endabardell.com and mikecohene.com.

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

Parker Art Salon on display

“Aqua,” by Violette Zohar Fiszbaum, who is one of the more than 50 artists participating in the Parker Art Salon exhibit at Pendulum Gallery. (photo from Violette Zohar Fiszbaum)

Pendulum Gallery in downtown Vancouver opened a new show on May 15 – What Moves You – by the Parker Art Salon. More than 50 artists, all having their studios at 1000 Parker St., presented one piece each for their annual exhibition. The art, including paintings, sculpture and photomontage, is inspiring and uplifting, brightening up the space around it.

While the exhibit is already open to visitors, the opening reception, and the launch of an online auction hosted by Waddington’s Auctions, will be held at the gallery on June 8, 6-8 p.m. Fifty percent of the auction proceeds will go to Beedie Luminaries, a scholarship program for students with potential who are facing financial adversity. To further promote the artists, there will be a Parker studios tour on June 10.

The Independent spoke with one of the Jewish artists participating in the show, Violette Zohar Fiszbaum, at Niche Art Gallery on Granville Island. She is one of Niche’s co-founders.

Fiszbaum grew up in Sao Paulo, Brazil. “I studied art as a teenager, but my parents thought you couldn’t make a living at art – they were right, it is tough. They wanted me to be a doctor or a lawyer or an engineer. After I graduated from high school, I studied chemical engineering. I also wanted to study astronomy and quantum physics, but, again, it is not easy to make a living. But it never stopped me. I always did some art and I keep up my interest in quantum physics, too. I read on it even now, when I can’t sleep.”

After she finished university, she went traveling: Europe, Asia, North America. “I studied Tibetan art restoration in Paris and I visited Tibet in the 1990s. Tibetan culture is exotic, yes, but very spiritual. It brought me closer to my Judaism, my spiritual roots. I think all spiritual cultures are connected,” she said.

Fiszbaum studied kabbalah. “I grew up secular,” she said. “My parents survived the Holocaust as children, got married in Israel, and then moved to Brazil. But Judaism came from the inside of me, from my studies and my travels. Zohar is my Hebrew name, and that’s how I sign my paintings.”

She visited Israel many times during her wandering days. One of her travels brought her to Vancouver, and she liked it here so much she decided to stay. “I worked in the movie industry for a time,” she said. “I wanted to act in movies, and I did.”

photo - Violette Zohar Fiszbaum — Violette Zohar Fiszbaum *(photo from Violette Zohar Fiszbaum)*

She also worked a lot at her art, and she continued studying art, as well. “In the last 10 years, I have been teaching art,” she said. “I teach mixed media. In the beginning, I was an assistant at Emily Carr [University of Art + Design]. Lately, I have had my own class at Olympic Village. It is a beautiful room. It faces the water. My students are all adults, and we are having fun together.”

Fiszbaum’s artistic interests are diverse. She plays piano. She dances. She enjoys photography. But, mostly, she paints. “I often paint with some music on. I turn on the music, dance and paint,” she said.

One of her preferred techniques is mixed media. “I like my paintings to have layers, to have a mystery, an intrigue. Using mixed media is like adding an archeological layer to the image, a depth,” she explained. “For example, I saw this old poster in Israel and I incorporated parts of it in one of my abstract paintings.”

Mixed media is also the technique that allows her to be successful at Niche, although commercial art has never been her focus. “I don’t paint just to sell,” she said. “I want to leave something beautiful behind. In the last two years, I sold and donated 100 pieces.”

She sells and markets herself through several venues. “My website, of course, Parker Art Salon, the East Side Culture Crawl – that is huge in Vancouver, the biggest annual art show in town. I use Instagram. Anywhere I go, really. I play tennis and I belong to a tennis club – I sold some of my paintings there. I like swimming, and I sold many of my Swimmers series paintings through my connections with other swimmers. My painting in the Parker Art Salon exhibition is one of my swimmers. I used to be a dancer, and the human body, its movements, always have fascinated me, both in the water and on land.”

But Niche Art Gallery is one of her favourite places. “It started as a pop-up store just before the COVID pandemic,” she explained. “Pop-up is a short-term lease, and it has been popular lately.”

After her pop-up term had expired, she teamed up with a few other artists and opened the gallery. “Many galleries on Granville Island closed during the pandemic, but Niche flourished,” she said.

Besides her paintings, Fiszbaum sells some unusual pieces at Niche, including funky denim caps. Each one is decorated with an assortment of mixed media: snatches of lace, old buttons and zippers, feathers, disassembled toy fragments, even an old phone keyboard. “It is fun to work on them,” she said. “I use only salvaged materials there. Now I want to make denim jackets.”

Fiszbaum likes working on commissions. “I enjoy the challenge,” she said. “I have created paintings to customers’ demands, both in size and in the colour palette. Sometimes, they wanted my paintings to match their couches and curtains; other times, their carpets and pillows; even a vase once. And I did it.”

Among the work for sale at Niche Art Gallery are Fiszbaum’s portraits. She returns to female portraits again and again. “My mother was beautiful, like Cleopatra,” she said. “I keep painting women’s portraits in order to capture her beauty, to share it with everyone.”

The show at Pendulum Gallery runs until June 16. For more information on the artists (who include many Jewish community members) and the auction, and to book your Parker studios tour, visit parkerartsalon.com.

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