Byline: Olga Livshin

Darcy Mann is VAG featured artist

“Poplars” by Darcy Mann.

The Vancouver Art Gallery’s Art Rental and Sales space is not yet a well-known feature, but the nonprofit program has been quietly promoting emerging and mid-career Canadian artists on the gallery’s main floor. According to the website, “Whether you are you staging a home for sale, have an empty wall in your board room or love contemporary art but can’t decide what to purchase, you’ll find what you’re looking for in the Vancouver Art Gallery’s Art Rental and Sales Showroom. With more than 1,000 works by 200 Canadian artists, Art Rental and Sales has the largest selection of copyright-cleared, original art for rent in British Columbia…. All the artwork in the rental program is consigned by the artists, who receive the majority of the fees collected. The remaining proceeds are donated to the Vancouver Art Gallery.”

photo - Darcy Mann
Darcy Mann
(photo by Olga Livshin)

Darcy Mann is the next artist to have a feature exhibit in the space. Her charcoal drawings of British Columbia forests have been so successful with both the rental and sales part of the program that VAG offered to feature her work for three months.

Mann hasn’t always focused on forest drawings. She started her artistic life with figurative compositions. In an interview with the Independent, she talked about her life and the evolution of her themes.

“I always liked art. When I turned 10, I got a birthday gift from my mother – a pencil and some drawing paper. It was the best birthday gift of my childhood, the only one I remember,” she said.

After high school, she continued her art education in British Columbia and Nova Scotia, and later received an MFA in Texas. In 1987, in the course of her graduate studies, she had to spend a term abroad and she chose Israel, an experience that made a huge impression on the young artist. She and her husband, who is also a professional artist, then went to New York, where they lived for 14 years. “That’s where we really understood what art was,” she said. “But, of course, we couldn’t make a living as artists. We both had daytime jobs. I worked for an advertising agency. We kept practising our art and participated in several group shows. There is a wonderful place there for Jewish artists – Synagogue for the Arts.”

When their firstborn son was three, they returned to Vancouver, but Mann didn’t return to work. With the support of her husband and his family, she became a stay-at-home mom and a full-time artist. “Many artists experience financial challenges. We are willing to sacrifice material things, to live simply, for the sake of our art and our kids,” she said.

“I stopped painting and began drawing when my son was born – [I] didn’t want the chemicals in the paints to interfere with nursing the baby,” she said. “I also switched to forest scenes from figurative. You need to do much less talking when you paint forest. I don’t like talking and I don’t like discussing my art or explaining anything.”

Even when her son was older and she resumed painting with oils, she concentrated on the large forest landscapes. But she never gave up on drawing.

“Paintings and drawings are both satisfying in different ways,” she explained. “They complement each other. Painting is fluid. You can move paint around, remove some, add some, use different brushes, layers. A painting can change. It is chaos. While drawings stick to order, drawings are solid. When you use pressed charcoal, it’s there, on paper. You can’t erase it. But I need both. When I paint, I miss drawing. When I work on a drawing, I need to paint.”

Mann paints in her Marpole studio. “I paint and draw from photographs. I love going out with my camera during summer and fall, when it’s warm outside. Especially fall – it’s when I take the most interesting pictures. Not in winter though – too cold.”

After printing her photos, she starts the next phase of the process – assembling collages. Once she has the photographs, “… to get an image I want, I have to separate the background from the foreground” of each image. “I go through dozens of pictures. It’s like solving a puzzle, selecting which pieces fit where. I cut the pieces and glue or tape them together. I do it all by hand – I don’t trust computers. The whole thing is like taking a ball of mixed-up necklaces and untangling them, before creating a new image.”

Mann’s paintings and drawings are straightforward on the surface, but the underlying mystery shimmers in most of her compositions, a hint of a story, a token of a concept, as if the artist didn’t really abandon the figurative but just concealed it behind a bush or in the midst of this thicket.

“For me, esthetics is the most important,” she said. “The best of my works happen when I allow myself to lose conscious control, when my hand and my intuition take over. The idea is still there, but not controlled by me.” That’s why she often listens to audio books when she is at her easel. “With an audio book engaging my thoughts, it’s easier to let the intuition fly.”

Several years ago, she answered the VAG Art Rental and Sales call for artists and sent them some of her forest drawings, thus beginning a long association. Mann is the featured artist at the VAG Art Rental and Sales Showroom from Feb. 3 to May 2. Her artist talk, on March 4, 7 p.m., is free and open to the public.

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

Michael Abelman art bright, optimistic

Michael Abelman’s show runs at the Zack until Feb. 16. (photo by Olga Livshin)

A day before Michael Abelman’s art show opened, someone wandered into the Sidney and Gertrude Zack Gallery, looked around, and exclaimed: “How nice. Spring has arrived!” This random comment could serve as a description of the entire show. Bright optimistic flowers bloom on the gallery walls, defying the winter rain outside, encompassing all seasons. It’s hard to believe that the artist only started painting 10 years ago.

“I always loved art,” Abelman told the Independent about his start, “loved visiting museums and galleries. There are wonderful paintings in galleries along Granville Street, but I could never afford them, so I thought I would paint what I like myself.”

His vague wish to create beauty resulted in the birth of an artist, although from his background, one might never guess the exuberance of his floral canvases. By education, Abelman is an accountant; by profession, a salesperson. He grew up in South Africa and immigrated to Canada 20 years ago, together with his partner. He never painted in his native country, but Canada inspired him to start.

“In the beginning, I was really bad for a long time,” he admitted with a smile. “But I never gave up. I learned: studied with Lori Goldberg, took classes at Emily Carr, read textbooks and went to galleries.” And, of course, he painted.

“Studying art was a long, slow progression for me,” he recalled. “Each year, I would get better – maybe one percent. Then, three years ago, I had a big jump in quality. I joined Artists in Our Midst that spring and opened my house to the public.”

He sold several paintings that first year, which seemed like an acknowledgement of his skill, although sales don’t really matter to him. “I enjoy painting. That’s why I do it. If my paintings sell, all the better, but I would do it anyway. I don’t think I’ll ever stop.”

Abelman finds inspiration in the gardens around Vancouver. “I like painting what I see close to home. It’s beautiful here,” he said. “I’ve traveled to Europe, South America and Australia, but I don’t want to paint what I see there. I don’t want to paint Mexico. I want to paint local gardens. My partner, Leon, is a gardener. His garden is wonderful. I painted it one whole year. It motivated me. Leon grows some interesting tropical trees, plants from South Africa. He has a banana tree.”

Several paintings in the exhibition reflect the artist’s vision of his partner’s garden. One of them he even named after the gardener: “Leon’s Garden.”

Verdant greenery and the profusion of flowers of all varieties dominate Abelman’s pictures. Pink roses and red poppies, gorgeous dahlias and coquettish impatiens, slender blush-tinged mallows and exotic orange pokers beckon the viewers to enter the paintings, smell the fragrance, hear the leaves whisper.

All this multicolored magnificence has been painted indoors, in the artist’s basement turned studio, from photographs and picture books. “It’s often cold and rainy outside,” he lamented. “And I try to paint every day, at least one hour a day.”

He uses his own photographs and those of others as a motif, a starting point for his unique compositions, which are imbued with polychromatic light. He never copies a photo. To breathe life into his paintings, he changes the layout, applies his own impressions to the image or introduces a little mystery.

One of the paintings in the show, “Reflections Through My Window,” resonates with enigmatic undertones. Furniture and living stems, glass panes and a bouquet in a glass vase intertwine in the image, creating something new, discordant and harmonious simultaneously. It’s hard to discern what is reflection and what is reality, what is inside the glass and what is outside. “Mystery is good,” Abelman said with satisfaction when he talked about this painting.

“When I look at photos to find a new idea for a painting, color is more important to me than content,” he explained about his creative process. He constantly searches for that elusive quality that only reveals itself to true artists. “I’m always pushing the limits of beauty, but my esthetics change with years, evolve…. It’s all about that final lost layer of paint that makes all the difference.”

Sometimes, that final touch is a shadow or a few stray wavelets in a pond, or a lone petal falling into a stream. Water – be it a tiny rivulet in a garden, a pond in Giverny or the somnolent Burrard Inlet – features prominently in many of his paintings. “I love painting water,” he said.

Always on the lookout for new imagery, Abelman visited the library of Van Dusen Botanical Garden a few months ago for some flower books. When the librarian saw his paintings, she offered him a show at the library, and that show was mounted in the fall of 2013. His impressionistic flowers did very well alongside the real thing. “I was invited to speak to the Richmond Art Guild later this spring, because they saw my paintings at the Van Dusen. They have 60 members.”

He sounded amazed at his own luck, despite his rapidly improving skills and the attending commercial success, as if he can’t take himself too seriously. Even when he disclosed his secret ambition, he laughed, as if sharing a joke: “I want my paintings to be so good that it would hurt you to walk out of the galley without them.”

In Full Bloom is at the Zack Gallery until Feb. 16.

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

Nicholas Winton’s kindertransport

The Wallenberg-Sugihara Civil Courage Society will mark Vancouver Raoul Wallenberg Day on Jan. 19 with the screening of the documentary Nicky’s Family, about Holocaust hero Nicholas Winton.

Now 104 years old, Winton lives in England (where he was born). The story of his heroism during the Holocaust starts in 1938, when he was a stockbroker. Receiving a letter from a friend in Prague about the plight of Jews in German-occupied Czechoslovakia, he traveled there to assess the situation for himself. Shocked at what he witnessed, he established an organization to aid children from Jewish families, setting up office in his hotel room in Prague, from which he eventually expanded.

poster-Nicky's Family
Nicky’s Family will be screened in Vancouver on Jan. 19.

The director of Nicky’s Family, Matej Minac, said in an interview on Czech Radio in 2003: “When he came here to Prague, and wanted to rescue all these children, and he had a plan how to do it, everybody was telling him – you know, it’s absurd. You can never manage it. The British won’t let the children in. The Gestapo won’t let the children out. You don’t have the money, so how do you want to do it? It’s crazy. And Winton said that anything that is reasonable can be achieved.”

After Kristallnacht, in November 1938, the British Parliament approved the entry of refugees younger than 17 into the country, if they had a place to stay and a warranty was paid. Knowing this, Winton left his friends in Prague to manage the gathering of the children there and returned to London, where he started a campaign to find foster homes and the necessary guarantees for as many children as he could.

Winton also organized for the Jewish children to be transported on trains and then on to ferries to England, where the foster families met them. The operation later became known as the Czech Kindertransport. It lasted until the official start of the Second World War on Sept. 1, 1939, by which time 669 of “his children” had arrived in England. He kept records of the names and addresses of the children, their parents and their foster families. Most of the Jewish parents in Prague perished during the Holocaust.

Winton never told anyone of this enterprise. Fifty years after the fact, his wife found a suitcase in the attic with all his wartime documentation. She contacted the BBC, and they sent letters to the addresses of the foster families. Several dozen people responded. Most of them didn’t know the identity of their rescuer. His “children” and their children and grandchildren now number more than 6,000.

A 1988 TV program about the reunion of Winton and dozens of the children he had saved started a snowball of recognition; among the honors, Winton was knighted by Queen Elizabeth II.

In the late 1990s, Minac was searching for a theme for his next film. The Czech director read Pearls of Childhood by Vera Gissin, in which she mentions Winton and his rescue operation.

“I was astonished,” said Minac in the aforementioned radio interview. “That’s exactly what I needed for my story. I wrote a film treatment and I asked one lady, Alice Klimova, whether she could translate it into English. She said: ‘Matej, I think you have a few mistakes in your treatment, especially the scene in the train station, when the children are leaving for Britain.’ I said: ‘How do you know?’ And she said: ‘I know because I was one of those children, of Winton’s children…. I was only four-and-a-half years old. I don’t remember it so well. Why don’t you call Nicky, Nicky Winton?’ And I said: ‘How do you mean Nicky Winton? He’s still alive?’ She said: ‘Yes. He’d be very happy to talk to you, he’s a nice person, and I’m sure he would help.’ Two months later, I visited Nicky. We spent a beautiful afternoon together, and I knew that I can’t do only one film … but I will have to do also a documentary….”

In the end, Minac made three movies about Winton: one feature, All My Loved Ones (1999), the documentary The Power of Good: Nicholas Winton (2002), which won an Emmy Award, and Nicky’s Family (2011), which includes reenactments and never-before-seen archival footage, as well as interviews with Winton and a number of those he rescued.

The Wallenberg-Sugihara Civil Courage Society, which is hosting the Nicky’s Family screening and reception here, incorporated in April 2013, Deborah Ross-Grayman, one of the society’s founding members, told the Independent. “This was the natural outgrowth of the Raoul Wallenberg Day event, which began in 1986 with the placement of a plaque in Queen Elizabeth Park. It was revived on the 20th anniversary in 2006, as a cooperative event sponsored by the honorary Swedish consul, Anders Neumuller, and the Vancouver Second Generation Group…. We formed the society in order to be able to formally present an award for civil courage, and so acknowledge and support such heroic acts today.”

She added that approximately 50 diplomats from different countries risked their lives and careers to save the lives of Jews during the Second World War. “We have shown films highlighting the acts of Wallenberg, Sweden, and Chiune Sugihara, Japan, [whose visa saved Ross-Grayman’s mother’s life] as well as people from Chile, Portugal and Spain. Wallenberg saved approximately 100,000 people and Sugihara saved approximately 6,000. Their names stand as a symbol for all such courageous and heroic acts.”

Nicky’s Family will screen at the Jewish Community Centre of Greater Vancouver’s Rothstein Theatre on Jan. 19 at 1:30 p.m.

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