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Category: Arts & Culture

Saint-Paul transforms

Saint-Paul transforms

Paul Shore gets a little help from his daughter at a recent book signing. (photo from Paul Shore)

Cultural pastimes, like pétanque, “recharge our joie de vivre, our delight in being alive; they free our minds; and they fuel our chutzpah for adventure. We must protect these beautiful little gifts, tie a bow around them, love and keep them safe,” writes Paul Shore in Uncorked: My Year in Provence Studying Pétanque, Discovering Chagall, Drinking Pastis and Mangling French (Sea to Sky Books, 2016).

book cover - UncorkedThe title pretty much describes the basic content of this delightful 164-page book, and gives a hint of the light touch with which Shore writes. His story will make readers reflect on their own pivotal life journeys, if they have been lucky enough to have them. Perhaps it will also make us recommit to what we’ve learned from such experiences – the need to stop and smell the proverbial roses, for example, and the joy and fulfilment that can come from opening ourselves up to new places, people, cultures – the list goes on.

It was his job that took Shore to Saint-Paul in 1999. When the Vancouver-based software company with which he worked opened an “outpost in the Nice area” of France – with him “as its sole initial employee” – he leapt at the opportunity. Telling his firm he wanted to live in a “cute small town,” he found himself in Saint-Paul de Vence.

“Little did I realize,” he writes, “that I was about to take up residence in a village that could be best described in summer as ‘gaudy tourist central’ because it was so famous and magical…. Nor did I know that the brilliant modernist painter Marc Chagall had lived, worked and was buried in my soon-to-be-surrogate hometown. Nor did I have a clue that Saint-Paul was tantamount to a holy site for an odd game called pétanque.”

“I lived in Saint-Paul for almost exactly one year – from January 1999 to late December 1999,” Shore told the Independent. “I had visited Nice the year before on a short business trip and dreamed about the possibility of someday spending a longer stint in the region. And I had been in the south of France years earlier, in 1990, as a Euro-Railing new university grad.”

Shore grew up in Ottawa, but has called Vancouver and its environs home for many years. He, his wife, Talya, and their two children have lived in Whistler since 2003.

“We are longtime members of Temple Sholom,” he said. “In Whistler, we get together with Jewish friends for major holidays and we visit Temple Sholom and family in Vancouver from time to time, too.”

There are a few Jewish terms and references in Uncorked and a pivotal exchange between Shore and a woman named Adele, the manager of an art gallery in Saint-Paul – she is the one who informs Shore that Chagall had lived and painted in the village. She also shares with him that Chagall was a Russian Jew and that she, too, is Jewish and her family came from Russia. “Comme ma famille [Like my family],” writes Shore, who explores his heritage further in the latter half of the book.

While there are various entertaining and touching tangents, the focus of Uncorked is Shore’s quest to learn the mysteries of pétanque, which he describes “for the uninitiated,” as looking “a little like the Italian game of bocce, or the British game of lawn bowling, or even the winter sport of curling that is popular in Canada,” though, he advises readers “not to suggest such similarities out loud while standing on French soil, unless you have no desire to try to play the game, no desire to be welcomed into a café, no desire to gain the friendship of a local, and you desire to have the nickname Monsieur Con – the polite translation of which is ‘village idiot.’”

photo - Paul Shore in action on the pétanque field
Paul Shore in action on the pétanque field. (photo from Paul Shore)

Shore was determined to “gain entry into the arcane world of this ancient game with its half-understood rituals and ancient codes.” With help from a friend (Hubert) and a lot of practise, he works his way up from spectator to furtive nighttime learner to solid daylight player to confident owner-of-his-own-ball-set player. He knows he has been accepted fully into Saint-Paul life when he is invited into Le Cercle (The Circle), “the private bar that was off limits to everybody except registered pétanque players of Saint-Paul,” and receives his member card.

Unfortunately, by that time, his work was going to need him back in Vancouver. In talking with one of his friends in France a couple of weeks before his return to Canada, Shore vows, “I’ll swim in the fast lane awhile longer … but not forever … France has taught me it’s not worth the personal sacrifice.”

“When I returned to accept a new role with Broadcom in Vancouver, I unfortunately couldn’t swim in a slower lane for the seven years I stayed with the company,” Shore admitted to the Independent. “I worked ridiculously hard, traveled too much for business, while being within the core of the high-tech industry and spending a lot of time in Silicon Valley during those years. It was exciting and I learned a lot, but it troubled me that I wasn’t able to apply what I had absorbed during my year in France about living a well-balanced lifestyle…. Since I departed Broadcom in 2007, I have lived differently – working hard in intense environments at times, though not for long periods of time and with far more varied interests and time off to vacation and to help raise a young family.”

For the past year, he said, “I’ve been doing a little business consulting, while focusing on marketing my book and pursuing new interests in the renewable energy world. I also manage a vacation rental property that we own on the northern Sunshine Coast in the town of Lund – we call it ‘The Shores at Lund.’”

He has returned to Saint-Paul with his wife a couple of times. “And we plan to visit again next June – the first time with kids, ours are 9 and 5,” he said. “I will definitely bring my pétanque balls back to play there again. I have always stayed in regular contact with Hubert, even though I haven’t seen him in person since 2006. I have a couple other French friends who I speak to less often, though we also stay in touch – one now lives in Montreal and we have seen her a few times over the years.”

Shore has played pétanque in Whistler on Bastille Day, though not lately. “I will definitely teach my kids,” he said, “once they can safely handle the heavy metal projectiles.”

As for his motivation to write this book almost 20 years after his stint in Saint-Paul, Shore said, “I have wanted to try my hand at writing for ages, though I never seemed to make the time. On the flight home in 2003, I made some notes about my year in France four years earlier, just so I wouldn’t forget all the humorous and fond memories. Those notes sat in my desk drawer at home until the spring of 2015 when I had a surgery that caused me to be immobile for several weeks. My wife brought me the notes to my lawn chair in the middle of the living room and told me that now was the time to write – and so it began.

“I wrote a lot for about two months and then set it aside until the next spring, when I departed a job and had a health scare around the same time. I then picked up the writing again, determined to finish. I didn’t know if I’d ever publish it, until I was with a friend named Joel Solomon at a workshop at Hollyhock (on Cortes Island) and he encouraged me to get it out there one way or another. Joel introduced me to a small firm, named Page Two Strategies (co-founder is Jesse Finkelstein), who I hired to assist me with the pursuit of a self-publishing path.”

Shore is obviously tenacious.

“I encourage people to pursue challenges and not to accept ‘no’ for answer,” he said. “‘Why not try?’ is a philosophy that I have attempted to live by for my entire adult life.”

Format ImagePosted on June 16, 2017June 15, 2017Author Cynthia RamsayCategories BooksTags France, Paul Shore, pétanque, Provence
Hand for Hand to God

Hand for Hand to God

Oliver Castillo plays both the human, Jason, and the puppet, Tyrone. (photo by David Cooper)

Supplementary education programs, or “afternoon schools,” as they’re commonly referred to, instil teens with an understanding of their Jewish heritage, including Hebrew language teaching, Judaic curricula, social activities and an opportunity to connect meaningfully with other Jewish teens. While Hand to God does not take place in a Jewish-oriented environment (in fact, it’s in the basement of a church), it still addresses the common issues of how to teach teens the value of their religion and heritage – and it does so hilariously.

Teacher Margery (the wonderful Jennifer Lines) tries to get three students – Jason, Timothy and Jessica – to pull together a hand-puppet show based on stories of the Hebrew Bible. The play starts with the youths creating their puppets and, at first, all things appear normal, but the disruptive bunch has other ideas.

The brash Timothy has little interest in the puppets but attends the classes because he has a crush on Margery (and is not shy about expressing his feelings) and Jessica seems relatively engaged with the concept. The timid and introverted Jason, Margery’s son, not only embraces the use of puppets but creates a second persona – Tyrone – within his doll.

Margery’s husband has recently died and Jason uses Tyrone to express the feelings of anger and abandonment he has toward his mother. While this dual identity seems rather innocuous at first – and Margery even pleads with Jason to support her in the puppet idea – it gets out of hand. Tyrone’s personality begins to overwhelm that of Jason’s until the unruly mannequin takes over entirely. At times, Jason’s extroverted alter ego is a benefit, helping him convey his attraction to Jessica. At other times, it becomes a raving maniac capable of serious destruction.

As the children deal with their own issues, Margery is dealing with hers. Devastated by the loss of her husband, she feels rudderless and alone. She hopes to find some fulfilment and pleasure in her work with the teens, but that disintegrates quickly as Timothy’s advances and Jason’s/Tyrone’s shenanigans descend into chaos and violence.

Meanwhile, the minister also has feelings for Margery, which puts her in an awkward position, feeling manipulated and lacking support from the one person she feels should be understanding.

Lines gives a credible performance as the confused Margery; and Oliver Castillo is amazing as he carries out the simultaneous roles of Jason and Tyrone.

The play is somewhat autobiographical in that playwright Robert Askins lived in a small town of conservative and religious family values. His mother actually did have an after-school puppet theatre in which Askins participated until his mid-teens, when his father died, after which he turned his back on his faith and became cynical about all things religious.

Though the production will have you laughing from the start, it tackles serious issues, such as the loss of loved ones, the loss of faith, feelings of betrayal and resentment, love and forgiveness. The subject matter will have you wondering how you might deal with similar situations, such as how far do you let a child go in creating a second personality? Is it harmful or helpful, and how do you know when to draw the line?

Hand to God runs at BMO Theatre Centre until June 25. Visit artsclub.com for tickets and showtimes. Warning: there is serious offensive language.

Baila Lazarus is a Vancouver-based freelance writer and photographer. She teaches businesses how to get coverage in mainstream media. More information can be found at phase2coaching.com.

Format ImagePosted on June 9, 2017June 7, 2017Author Baila LazarusCategories Performing ArtsTags religion, theatre
Caravan welcomes Vazana

Caravan welcomes Vazana

Amsterdam’s Noam Vazana will play in Vancouver and Victoria next week. (photo by Robin Daniel Fromann)

Multifaceted Jerusalem-born, Amsterdam-based musician Noam Vazana comes to Canada this month for the first time. She plays in Calgary June 6, Vancouver June 7 and Victoria June 8.

Vazana’s B.C. dates are presented by Caravan World Rhythms, whose managing artistic director is Robert Benaroya, and she will perform with local guitarist and composer Itamar Erez, who also hails from Israel.

“I heard about Itamar through a joint musician friend, Yishai Afterman, and through the presenter of the show, Robert Benaroya,” Vazana told the Independent. “We got to know each other by phone and on Chat. Our first shows together will be in Vancouver and Victoria.”

Vazana’s music has myriad influences, including classical, pop, jazz and Sephardi. She composes, and has two CDs to her credit, Daily Sketch (2011) and Love Migration (2014). Performing regularly on stages around the world, she returns to the Netherlands after her shows in Canada, but has Poland, Morocco, Germany, France and Israel also on her tour schedule.

“This is an amazing year, performing 90 concerts in 12 countries,” she said. “I consider myself very lucky to combine my two greatest passions, music and traveling. I get inspired from new people and new places. I get excited every time before I go on tour – the night before, I can hardly sleep because I can already feel new experiences at my doorstep, waiting to accompany me or take me over or be a part of who I’m about to become. Bob Dylan said once that an artist is always in the state of becoming; somehow, it seems that in order to stay creative I always have to be on the way to somewhere.”

One of the unique aspects of her performance is that she plays the piano and trombone – at the same time.

“My first encounter with the trombone was in an explanatory concert the local orchestra gave at my school,” she said of her somewhat unusual choice of wind instrument. “They were demonstrating several instruments and, the moment I heard the trombone, I fell in love with its rich tenor sound. Another thing that appealed to me is that the trombone is an orchestral or combo instrument, so mostly you play it in a formation. When playing classical piano, especially the old-fashioned way, my teachers always told me it was forbidden to try when I asked to improvise and learn chords and songs. So, I mainly kept to the scores and played alone as a child. It sounded cool to me to play in an orchestra and get to play things that were out of the classical context I was already exposed to.”

The trombone stands she uses had to be invented, she said, “and designed especially for the purpose of playing trombone and piano simultaneously.”

“I first used a model I designed myself from a tripod used to support a window-shopping mannequin,” she explained. “It was working quite well but had one main flaw: it was centred right in front of me, in the middle of the keyboard, so I had to be very creative with the piano parts and manoeuvre around it when moving between the registers.

“Then I had a second prototype designed by an engineer who had good intentions but his strength lay in theory and not in mechanical skill. I was struggling to set up the stand during a soundcheck and the owner of the venue told me he knew a blacksmith who might be able to help me. That guy is amazing, autodidact with phenomenal skill, designing motorcycle engines from scratch. He mended the flaws of the second model and eventually created a much lighter third prototype, which is the stand I use today. I have two different models, one for pianos and the other for keyboard.”

Vazana also leads a Sephardi group called Nani, and she will be performing some songs from that repertoire on her tour. While the spark for Nani was kindled in Morocco, its source lies further back.

“At our house, Israeli culture was eminent,” said Vazana. “My father grew up in a kibbutz and I was brought up part traditional, part secular. Foreign languages were forbidden at home and, although my mother spoke fluent Moroccan Arabic and French, my father insisted she talk to me only in Hebrew.

“My grandmother on my mother’s side spoke Ladino and Moroccan Arabic and never assimilated in the Israeli culture, so some of my first memories include her speaking Ladino with my aunt and singing Ladino lullabies for me. She passed away when I was 12 – you can imagine that, throughout my childhood, she was very old and I didn’t get to spend a lot of time with her.

“In both 2012 and 2013, I was invited to play at the Tanjazz festival in Tangier and I took these opportunities to explore the cities where my families originated from, Casablanca and Fez. On my second visit to Morocco, in 2013, during one of my many walks down the narrow streets of Fez’s medina, I heard people singing on the street behind me. As I made way to them, there came more and more people, singing and playing drums and wind instruments, all to a familiar melody. The procession ended in a square and, as I arrived there – I was one of hundreds of people, young and old – I suddenly realized this is a melody that my grandmother used to sing for me in Ladino. It was a special moment and the rest of my travels in Morocco called memories of my grandmother back to me. I felt drawn to a root that was longing to be rediscovered.

“When I got back home,” she said, “I started researching more and more about the Ladino language and culture and started combining a song or two in Ladino in my regular shows. Slowly, I studied the language over the course of a year and developed a substantial repertoire. It resulted in recording a new Ladino album that will be released in September 2017, and winning the Sephardic music award … at the International Jewish Music Festival in Amsterdam,” which took place last month, May 4-8.

Vazana first visited Amsterdam on tour with an orchestra, as a classical trombone player, she said. “At the time, I was a student at the music academy in Jerusalem and this was intended as a 10-day work trip and another 10 days to explore the Netherlands, as it was my first visit. I checked some information about local musicians and schools and applied for lessons with musicians from the Concertgebouw Orchestra.

“After having a lesson with their bass trombonist,” she said, “he asked me if I’d be willing to come back for another lesson with his colleague, the principal trombone player. After a 45-minute lesson, they both decided to invite me to study with them at the Royal Conservatory of Amsterdam, with an internship at the Concertgebouw Orchestra. The day later, I found myself attending a rehearsal with the orchestra, absolutely mind-blowing, because it was the best orchestra I ever heard live (and the No. 1 in Europe at the time). It didn’t take a lot more to convince me to quit my studies in Jerusalem and transfer to Amsterdam.”

This move forms the creative foundation of Vazana’s second album, which won the ACUM (Israel Association of Composers, Authors and Publishers of Musical Works) album prize, charted No. 14 on the iTunes bestselling chart and No. 2 on DPRP’s (Dutch Progressive Rock Page’s) best albums of 2015. It was financed in part by crowdfunding, through which 800 advance copies were sold. (There is a video, set to her song “Waiting,” in which Vazana personally delivers the CD to various supporters, giving each of them a hug. It can be found at youtube.com/watch?v=tW5Y2IEjgI0.)

“Love Migration is a very personal and exposed album, combining parallel stories about two migrations: my first migration to follow my heart, which is music, while longing to find a feeling of home. The second migration is the long-distance relationship I had with an Israeli guy whom I met just as my EU visa was approved, eventually resulting in him migrating to live with me so I could continue to follow my dream,” explained Vazana. “The process took three years to evolve into stories one can retell [with] perspective…. It could have turned many ways, but my personal search eventually led me (and still is leading me) towards taking the feeling of home with me wherever I go. It has been a long journey, but life is a journey and I feel that I evolve every day anew. In my song ‘Lost and Found,’ I describe that sensation: “Every time I look in the mirror / Every time I stand in the corner / Every time I knock something over / It’s a way for starting over / It’s a way to see it anew.”

Vazana and Erez’s Vancouver concert is at Frankie’s Jazz Club June 7, 8 p.m., and their Victoria appearance is at Hermann’s Jazz Club June 8, 8 p.m. Tickets to both shows are $20 at the door and $15 in advance. Visit caravanbc.com or call 778-886-8908.

Format ImagePosted on June 2, 2017May 31, 2017Author Cynthia RamsayCategories MusicTags Amsterdam, Caravan World Rhythms, Israel, jazz, Noam Vazana, Sephardi
Artworks on healing

Artworks on healing

Gail Dodek Wenner conceived the group exhibit Physician Heal Thyself … and Others, which is at Zack Gallery until June 25. (photo by Olga Livshin)

The new exhibition at Zack Gallery, Physician Heal Thyself … and Others, includes four artists, all of them local physicians near retiring or recently retired. Regular visitors to the gallery probably will be familiar with the work of two of them – Ian Penn and Carl Rothschild, who have exhibited at the gallery before – but maybe not that of Arturo Manes and Gail Dodek Wenner.

Rothschild’s contribution to the show is a selection of small, colourful paintings, which look like snapshots of his garden or a street around the corner. Each one is accompanied by a poem written by the artist. Together, they represent his impression of his home city and its healing potential.

photo - “Preventative Medicine” by Carl Rothschild
“Preventative Medicine” by Carl Rothschild. (photo by Olga Livshin)

Penn’s part of the show is more dramatic. It includes a video and several photographed pages from his journal, where he documented the before and after of his complicated spinal surgery in 2016. His display fits the theme of the show almost too perfectly for comfort.

Manes’ paintings – his method of spiritual healing – are based on Roman Vishniac’s book of black-and-white photographs, A Vanished World.

“The Shoah has been for me a defining event not only in Jewish history but human behaviour, which I’m trying to come to grips with,” Manes said in an email interview. “Black-and-white photographs in Vishniac’s book impressed me greatly…. I used those images of my people prior to the Holocaust as a template for my paintings. By adding colour and a free rendering, I hoped to express the feelings the photographs have evoked.”

He said Physician Heal Thyself is the first exhibit in which he has participated, although he has been painting since childhood. “I’m not an artist – I’m a physician who paints. I was honoured to be invited by Dr. Gail Wenner to be a part of this show.”

Dodek Wenner invited the other doctors to participate in the show, as well. It was she who came up with the theme.

“I always loved art, but I loved science, too,” she told the Independent. “I chose medicine as my career, but art has always been my hobby.”

As an artist, she is very versatile. At one point or another, she has tried various media: painting, ceramics, textiles, photography, Hebrew calligraphy. In practising medicine, however, she stayed true to one direction: mothers and babies. “In the past 26 years, I delivered 2,000 babies,” she said. “But I made the decision to stop delivering. It’s time for a change.”

One of the precursors of her decision was going back to school, to Emily Carr University. In 2009, she received a diploma in fine art technique.

photo - “Weaver” by Arturo Manes
“Weaver” by Arturo Manes. (photo by Olga Livshin)

“I took a class, Business of Art,” she recalled. “One of the assignments was to pitch an idea for a show to an art gallery. I chose a theme: healing, what it means to be a doctor and what Judaism says about healing. I chose the Zack Gallery, and I decided to invite several Jewish physicians to participate. All for a school assignment. I didn’t actually do it at that time. I did mention it to Yosef Wosk, who is a friend, and he said it was a great idea.”

A few years later, Wosk reminded her of the idea, and she finally contacted Zack Gallery director Linda Lando. “I pitched the idea to Linda in 2016,” Dodek Wenner said. “We brainstormed it and came up with a few names of Jewish physicians who were artists.”

That was the first step. The next step was to determine what she wanted to paint for the show. “I needed to explore what healing meant to me,” Dodek Wenner explained. “Personally, I always went to my parents’ beach house when I needed to do some healing. So, I thought, what was it about the ocean that healed me?”

After some contemplation, she came up with four steps of healing. “The first one is the acknowledgement: yes, there is a problem. There is a fear, and a doctor has to acknowledge that fear in her patient. Next comes compassion, which leads to the doctor assuring her patient: I can help you. The third one is wisdom. Doctors have a huge body of knowledge. They study for many years, and they share their knowledge with the patient, use what they know for healing. Last is comfort. Comforting the patient is very important at every stage of the healing process.”

After formulating these concepts in her head, she explored what Judaism says about healing. “I looked in the siddur, the Jewish prayer book, and found all four of those concepts of healing, both body and soul, in the first couple pages,” she said.

She knew she was on the right track but wasn’t sure how to showcase her ideas through art. “I went to the beach house again, walked along the shore, and I knew,” she said. “The ocean represents all four facets of healing, too.”

Her paintings, two distinct series of five paintings, are all different interpretations of the shoreline. The ocean is sometimes quiet, sometimes turbulent and the colours of the waves fluctuate from light blue to deep green. The foam, created with the use of medical gauze, plays in the sand among the shells. The shells are real, collected by the artist along the same beach she loves so much. “I scooped them with a cup,” she said.

“My paintings don’t show one particular place,” she added. “They are the essence of a shoreline. Each piece is different, but they all connect.”

Physician Heal Thyself opened on May 25 and continues until June 25.

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

Format ImagePosted on June 2, 2017May 31, 2017Author Olga LivshinCategories Visual ArtsTags art, Arturo Manes, Gail Dodek Wenner, healing, medicine, Zack Gallery
What is after death?

What is after death?

Theo Budd as CB, Eric Biskupski as Beethoven, Erika Babins as CB’s Sister and Ryan Nunez as Van in Dog Sees God: Confessions of a Teenage Blockhead, which runs June 8-11 at CBC Studio 700. (photo by Javier Sotres)

It would be interesting to know what Peanuts creator Charles M. Schultz would have thought of Bert V. Royal’s Dog Sees God: Confessions of a Teenage Blockhead, which premièred several years after Schultz passed away. Described as an “unauthorized parody” of the well-known cartoon strip, it seems more serious in its imagining of Charlie Brown, Lucy, Linus and the rest of the gang as teenagers.

photo - Erika Babins plays CB’s Sister in Awkward Stage Productions’ presentation of Dog Sees God at CBC Studio 700, which opens June 9
Erika Babins plays CB’s Sister in Awkward Stage Productions’ presentation of Dog Sees God at CBC Studio 700, which opens June 9. (photo from Awkward Stage)

Presented by Awkward Stage Productions next week, June 8-11, the show isn’t part of Awkward Stage’s regular season, said Jewish community member Erika Babins, who plays the character CB’s Sister. “This project sprung from a night of hanging out with friends and we were all lamenting the lack of opportunity to really sink our teeth into a meaty and relevant piece of theatre,” she explained. “I’m an artistic associate for Awkward Stage and I was chatting with artistic director Andy Toth, who more or less said, ‘This sounds like a show that Awkward Stage should be a part of.’ So, we’ve had the benefit of the support and connections that Awkward Stage has in the theatre community and as a not-for-profit, but we are producing it as a collective of emerging artists.”

The Wikipedia entry on the play goes into detail about the plot. In short, after CB (Charlie Brown) and his sister (Sally) hold a funeral for their dog (Snoopy), which degenerates into an argument, CB goes on a mission to determine what happens to us after we die. Among many other things, we find out that CB loves Beethoven (Schroeder) and they hook up, but Matt (Pig-Pen) can’t accept the relationship, so he harasses Beethoven, who eventually commits suicide. Also part of the story is that Van’s Sister (which would be Lucy, with Van being Linus) has been “institutionalized for setting the Little Red-Haired Girl’s hair on fire.”

“The only thing I would add,” said Babins about the Wiki synopsis, “is that the whole play is bookended within the context of CB writing a letter to his old pen pal.” The pen pal has the initials CS, referring to Schultz.

“The target audience for this play is anyone who is a teenager now or remembers being a teenager,” said Babins. “There is a lot of swearing and heavy subject matter so parental guidance is advised and it is probably not appropriate for elementary school-aged children.”

The promotional material for the Awkward Stage production notes, “Dog Sees God shines a light on homophobia, drug use, pedophilia, suicide, eating disorders, teen violence, rebellion, sex, mental illness and self-identity. And it’s funny!”

“I was taught at theatre school that comedy comes from the characters not realizing they’re doing something funny, and these characters definitely don’t know they’re being funny,” Babins said. “For them, everything that is happening to their group of friends is the worst thing ever but, for the audience, it’s an opportunity to look back and laugh at the dramatic highs and lows that are adolescence.”

photo - Theo Budd as CB and Erika Babins as CB's Sister
Theo Budd as CB and Erika Babins as CB’s Sister. (photo by Javier Sotres)

She describes her character as “a bit of an outcast herself. She’s younger than the other characters and, as such, is not included in their tight-knit group. She spends the course of the play drastically altering her persona in an attempt to figure out where she actually belongs. Without giving too much of the story away, she does find her way back to a close relationship with her brother, who she grew up admiring.”

Babins added, “One of CB’s big arcs in the play is trying to decide on what he thinks happens after you die, and each of his friends has a very different answer for him. Though none of the of the answers is expressly Jewish, it’s an interesting lens to look at how these teenagers interpret religion in a secular small town.”

Directed by Sarah Harrison, Dog Sees God previews at CBC Studio 700 on June 8, 8 p.m., and opens there June 9, 8 p.m., with performances June 10, 7 and 9:30 p.m., and June 11, 2 p.m. Tickets are $21, with $1 of every ticket sold going into the profit share for the cast and creative team (the preview is two-for-one). For tickets, visit dogseesgodvancouver.brownpapertickets.ca.

Format ImagePosted on June 2, 2017June 1, 2017Author Cynthia RamsayCategories Performing ArtsTags Awkward Stage, Erika Babins, Peanuts, teenagers, youth
Life arising from destruction

Life arising from destruction

Barbara Heller in front of “Regeneration,” the work she created in collaboration with botanist Elena Klein. (photo by Olga Livshin)

Through the art of weaving, internationally acclaimed local artist Barbara Heller explores the world – and she doesn’t shy away from controversial topics. Themes of politics and destruction, renewal and society attract her exactly because of their complexity.

Heller’s road to the tapestry arts wasn’t straightforward. Her first bachelor degree was in psychology. “I started a master in psychology and, as part of the program, I had to keep an art journal,” she recalled. “It made me happy, much more so than psychology, so I decided I wanted to go to an art school. But, at that time, an art program would be mostly about ideas, concepts. If I wanted to learn techniques, I needed a program in art education.”

After earning a certificate in art education, Heller taught printmaking for awhile, but an allergy to the chemicals used pushed her to seek another form of artistic expression. She took some evening classes in tapestry-making, and loved it. She started showing her work at craft markets and art fairs.

“Tapestry-making is a slow, time-consuming process,” she told the Independent. “Sometimes, a large tapestry takes a year to complete. But the meditative aspect of weaving fits my personality. I need slow. I need time to think, to contemplate what I am doing. When I make a tapestry, I can stop at any moment, which was convenient when I was younger. I rented my studio on Granville Island the same year I got pregnant, 36 years ago.”

She continued her art while raising her son.

“With a tapestry, I’m creating the canvas along with the image, and I like that,” she said. “Dealing with mistakes is much harder than in a painting, so I go slowly to get it right the first time. It is almost a dialogue between me and the tapestry on my loom.”

In the beginning, Heller taught tapestry, but she doesn’t do so any longer. “I learn by doing,” she said. “It’s the best way to learn. I often find it hard to explain in words all the concepts and ideas that go into my weaving. I still make presentations and lectures at the professional conventions and shows, for the experienced artists, but I don’t want to explain the alphabet to the beginners anymore. I want to have more time for my tapestries.”

Her latest creation, “Regeneration,” took a year to complete. This large tapestry, made in collaboration with botanist Elena Klein, is part of the group show Connections that opened on May 11 at Craft Council Gallery on Granville Island. The concept of the show was collaboration, an exchange of ideas between three textile artists and their non-artist friends.

photo - “Tzimtzum” or “Transcendence,” by Barbara Heller
“Tzimtzum” or “Transcendence,” by Barbara Heller.

“For a long time, I had this image in my head of bombed-out buildings in Syria,” Heller said. “I wanted to use it for a tapestry, but I didn’t know where to go with it. Then, I met with Elena, and we talked. That’s how I found out that certain species of pine trees drop cones that don’t release their seeds unless a forest fire occurs. The seeds then germinate in the earth newly cleared of large trees by the fire. Suddenly, the image of my tapestry took shape.”

The tapestry has three distinct sections. The bottom layer is flames, blazing with red, yellow and orange, gorgeous and deadly. The middle part is what comes after, and these grey ruins could almost be anywhere in the world. The aftermath of a fire, whether man-made or natural, is the same: ash, devastation, fear. But hope won’t be denied, and the top part of the tapestry represents rebirth: a green field with the pinecones scattered around. The artist’s message is clear: new growth will come out of the wreckage. Life will reassert itself.

The same message of life arising from destruction or death manifests in another of Heller’s large tapestries, “Tzimtzum” or “Transcendence.” In 2016, she was invited to submit a piece to the 15th International Triennial of Tapestry in Lodz, Poland. “I wanted to work on an image with birds and wings, starting with tragedy, but ending with hope,” she said.

The tapestry depicts a stylized ladder. The darker blue rungs at the bottom incorporate a dead bird, a recurring image for the artist. From that low point, the ladder climbs, punctuated by several pairs of wings, with the shades of blue gradually lightening towards a white radiance. “The ladder has many interpretations,” Heller says in her artist’s statement. “It can be seen as a metaphor for our life, as a link, a liminal space between birth and death, heaven and earth … matter and spirit…. For me, they [the rungs] are stepping stones on the path of spiritual attainment, of transcendence.”

After six months in Poland, the tapestry came home, and it is currently on display at Christ Church Cathedral on Burrard Street, as part of the show (in)finite. The exhibition, featuring 30 Canadian textile artists, opened on May 25 and runs until June 4, with an opening reception on May 27. The show Connection on Granville Island continues until June 22.

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

Format ImagePosted on May 26, 2017May 24, 2017Author Olga LivshinCategories Visual ArtsTags Barbara Heller, tapestry
Books for people with dementia

Books for people with dementia

Eliezer Sobel created L’Chaim: Pictures to Evoke Memories of Jewish Life with his parents in mind. (photo from Shutterstock)

Eliezer Sobel’s new book, L’Chaim: Pictures to Evoke Memories of Jewish Life, was born from personal experience.

Sobel is an artist at heart and has spent his life finding ways to interact with people – through writing, facilitating workshops and running retreats over the past three decades. Three years ago, on his parents’ 67th anniversary, things took a turn for the worse.

“My mother is in her 17th year of Alzheimer’s and is 93,” Sobel told the Independent. “My dad was fine and taking care of her at home until he was 90. On their 67th wedding anniversary, he fell down the stairs. He fell on his head and almost died. Overnight, there were two dementia patients in the house.

“Prior to that, he was driving, cooking and shopping, as well as hiring and handling the payroll for a team of seven aides. He was amazing with it. Suddenly, overnight, I had a brain-damaged dad at 90 years old.”

Sobel and his wife lived in Virginia at the time, which is seven to eight hours away from New Jersey, where his parents lived. After the accident, however, they moved into his parents’ home.

photo - Writer Eliezer Sobel’s parents, Manya and Max, in 2016. They were the inspiration for Sobel’s series of picture books for readers with dementia
Writer Eliezer Sobel’s parents, Manya and Max, in 2016. They were the inspiration for Sobel’s series of picture books for readers with dementia. (photo by Eliezer Sobel)

“We stayed in the house for 10 months, taking care of my parents and trying to get the right kind of help in the house that would enable us to eventually move out,” explained Sobel. “But we stayed nearby so we could monitor and manage the scene.”

His dad recovered a substantial amount of his cognitive and physical ability, but passed away this past November.

The work on the book goes back to 2011. “She didn’t speak English words anymore,” said Sobel of his mother at the time. “She would sometimes make up her own language and sounds. She stopped reading, as far as we knew.

“One day, I came upon her accidentally…. She was flipping through a magazine and I overheard her reading the big print headlines out loud, in English, correctly. I was totally floored. Mom can still read, even if it’s just a three-word phrase.”

Sobel wanted to run out and buy his mom a picture book, one designed for Alzheimer’s and dementia sufferers, but he couldn’t find one anywhere. His next thought was to use a children’s picture book, but he was unsure whether his mother could negotiate a book with a storyline. He wanted each page to stand on its own, so it would not require the reader to recall what had happened on a previous page.

“I called up the national Alzheimer’s association and spoke with their chief librarian for the whole U.S. and her response to me was to say that there were 20,000 books for caregivers of those with memory loss,” said Sobel. “I said, ‘I am not looking for [a book for] the caregiver, I’m looking for my mother, the patient. There was dead silence on the other end of the line. She couldn’t think of any such book. Eventually, she did mention one other author who has since become an acquaintance of mine who had a few books, but they weren’t really what I wanted, so I realized I had to do this myself.

“I first did a book that wasn’t just for Jews. It was for anyone with memory loss. It was called Blue Sky, White Clouds, and came out in 2012.”

Sobel – who has also written a novel and a memoir – received such a positive response to this first picture book that he decided to make it into a series.

“My mother got to enjoy the first book a lot,” said Sobel. “Her aides would use it with her almost daily. We would observe that she would zero in on particular photos, ignore certain pages, find a photo – particularly one of a married elderly couple – and contemplate it for 20 minutes and caress the faces.

“These books are for a particular stage of dementia,” he said. “They’re appropriate for someone who’s got enough memory loss and dementia that they won’t be offended or have awareness that this is kind of a simplistic picture book, they’ll just be interested. But they can’t be too far gone, like my mother now, who can’t even look at my face, let alone my book.”

Caregivers often struggle with how to engage people with Alzheimer’s.

photo - A page from L’Chaim: Pictures to Evoke Memories of Jewish Life
A page from L’Chaim: Pictures to Evoke Memories of Jewish Life. (photo by Olaf Herfurth)

“It’s very hard to find activities to do with someone in that condition,” said Sobel. “So, what I was trying to accomplish was to give caregivers something they could share with the patient … or give patients something they could use on their own…. It was an opportunity for sharing to occur, an activity of quality time. For certain pages, in the earlier stages [of dementia], it stimulates memories, conversations, reminiscences or free association.

“I’m from the creative right brain of things, so I could find things to do with my mother, like empty a box of coins on the table and we’d spend an hour playing with them – pennies over here, stacking the quarters, making a picture of a house with the dimes. Then, I’d say to my dad, ‘See, Dad! There are lots of things you can do with Mom. You could put these coins away and do the same thing tomorrow. She won’t remember.’

“He would call me the next day, and say, ‘Ah, it didn’t work. She didn’t know the difference between a penny and a nickel.’ That was the point. He’s a mathematician and very linear … [he] could not break into the play mode. If you’re someone who’s good with little kids, you can do that with someone like my mom.”

In some ways, Sobel often finds himself feeling grateful to Alzheimer’s, because it made it possible for him and his mother to grow closer – at least for the first 10 years of her disease.

At the beginning, Sobel saw her become more available. As a Holocaust refugee, she had always been very insulated, private and afraid of others. Sobel said he went to a psychic early on in her disease, worried that his mother was losing her memories, and the psychic thought she’d be happier without them.

“It was true,” Sobel reflected. “She transformed from that scared refugee into an open, childlike, loving, laughing angel. People would feel blessed to be around her. She was delightful – greeting strangers and striking up conversations that made no sense. She and I laughed about who knows what. She and my father would dance to music. A lot of things were happy about her Alzheimer’s experience.

“I’m not saying there weren’t nightmarish times. We had our share of those as well,” he added. “She went through a violent period where she was chasing people with steak knives. We had to put her into a psych ward for 10 days.”

That was the exception, though, and Sobel said, “I had an opportunity to finally heal my relationship with her.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Format ImagePosted on May 19, 2017May 17, 2017Author Rebeca KuropatwaCategories BooksTags Alzheimer's, dementia, Eliezer Sobel, health care, Holocaust, Judaism
Guide to Jewish campus life

Guide to Jewish campus life

On May 8, Canadian Hillels in partnership with the Centre for Israel and Jewish Affairs (CIJA) released Going Somewhere? The Canadian Guide to Jewish Campus Life. Inspired by Maclean’s annual university guide, Going Somewhere? Provides students with information about Jewish life on campuses across Canada, as well as tips on how Jewish students can make the most of their first-year experience.

Going Somewhere? includes campus-by-campus details on everything from Jewish student population numbers, access to kosher food, Jewish studies programs, academic exchanges with Israeli schools and popular housing locations for Jewish students, as well as Jewish social opportunities, such as holiday parties hosted by Hillel. Going Somewhere? also provides information about Jewish and pro-Israel campus advocacy opportunities, and paid internships offered by Hillel.

book cover - Going Somewhere? The Canadian Guide to Jewish Campus Life“We are proud to publish the first coast-to-coast Canadian guide to Jewish life on campus,” said Marc Newburgh, chief executive officer of Hillel Ontario, in a statement. “For Jewish students, the university experience provides a unique opportunity to connect with their community, shape their Jewish identity for the long-term and develop skills by engaging in Jewish and pro-Israel advocacy. Our hope is that Going Somewhere? will prove a valuable resource for students and their families.”

Judy Zelikovitz, vice-president of university and local partner services at CIJA, added, “CIJA is pleased to have contributed to Going Somewhere?… As the only Jewish student organization with staff on the ground at schools across the country, Hillel offers an unparalleled window into everything Jewish on campus. The practical advice and campus-by-campus details in Going Somewhere? make for required reading for every Jewish student as they consider their options for the fall.”

To download a free copy of Going Somewhere?, visit gettheguide.ca.

Format ImagePosted on May 19, 2017May 17, 2017Author CIJACategories BooksTags Centre for Israel and Jewish Affairs, Hillel, university
Diverse selection of artwork

Diverse selection of artwork

Johanan Herson is coming from Israel to Art! Vancouver. (photo from Johanan Herson)

“I am very much looking forward to seeing all the new artwork coming from around the world,” Lisa Wolfin told the Independent. “We have some giant heads coming from Miami, some art made out of spider webs, metal sculptures and some really crazy stuff – can’t wait to see it all together under one roof.”

Wolfin is the founder and director of Art! Vancouver, which this year takes place May 25-28 at Vancouver Convention Centre-East. She is also an artist herself and will be bringing recent work to the fair.

“Over the past year,” she said, “I have contemplated what to make for the show that is new and unique and have come up with my new series called I Feel. It is a portrait series made from different materials: oil on canvas, mixed media on wood panel, and photography.”

Her current work is contemporary, she said. “What I have found in the many art fairs that I have attended is that artists are using recycled materials and making them into creative art forms. My newest series is made out of my kids’ things they used when they were young. Sometimes, it feels like I am back in kindergarten being free to just play with materials, not thinking what you are trying to make out of it, just doing. Who doesn’t want to be a kid again?”

photo - “Golden Hour,” acrylic on canvas, by Michael Abelman, one of several Jewish artists whose work is part of Art! Vancouver, which runs May 25-28
“Golden Hour,” acrylic on canvas, by Michael Abelman, one of several Jewish artists whose work is part of Art! Vancouver, which runs May 25-28. (photo from Art! Vancouver)

As more people have become aware of the art fair – this is its third year – inquiries have come from around the world, said Wolfin. And CBC Arts’ Amanda Parris “is flying out from Toronto to host the show and speak in a panel talk on Saturday at 3 p.m. Joining Amanda on the panel is Barrie Mowatt, who presently runs the Vancouver Biennale.”

Art! Vancouver opens on May 25, 7 p.m., said Wolfin, with “The Face of Art, where the artists walk down the runway carrying their artwork, so the attendees can put a face to the art to know who the artist is. People are curious as to who are the makers of the art – at this show, the artists are mostly in attendance, where people can come to meet them.”

Among those artists are several from the Jewish community, including Wolfin. Also presenting their work will be Johanan Herson, who is coming to the fair from Israel, and local artists Michael Abelman, Lauren Morris, Taisha Teal Wayrynen and Skyla Wayrynen.

“I will be showing mostly the soft art, textile art, but will have some of the sculpture works and acrylic paintings as well,” Herson told the Independent about what he’s bringing with him. “Le Soleil Gallery [on Howe Street] is showing the full range of my work and will continue after the fair to handle my artwork.”

Herson said he’s been to Vancouver a couple of times before, when he was a student at Banff School of Fine arts. He is originally from Montreal.

“I grew up in Montreal and visited Israel on various occasions before making aliyah,” he said. “In fact, I had come to study at the Bezalel Academy just after the Six Day War and hated it. I traveled the world before coming back to Montreal and the Canadian sense of pluralism and diversity. I came back later [to Israel] to understand the meaning of my Jewishness and fell in love with an Israeli woman, of a 10-generation family, and find myself part of this dynamic society.”

In terms of his artwork, Herson said, “I know that my soft art is a product of being at the right time and the right place, where this technique evolved, and I did look into the possibility of doing it in Quebec, but … the soft art is definitely an Israel discovery and development.

“My Canadian identity is one of respect for everyone, the celebration of diversity and acceptance of the other, and I cherish my Canadian roots and heritage and am proud of my citizenship. My work in Israel and my Jewish identity has always been part of who I am wherever I am and was part of who I am as a Canadian and an Israeli. I hope that my commitment to making the world a better place for everyone would have guided me if I had never left Canada, although perhaps the intensity of living and creating in the Middle East has challenges that are unique to Israel.

“I believe in the good in humanity,” he continued, “and have always sought to defend the less-privileged and suffering … whether they are in Montreal, Tel Aviv, Ramallah or Africa, and seek global communication as a platform to making the world a healthier and safer place of love, respect and opportunity for a better life for everyone. I do so as a Canadian Jewish Israeli artist.”

photo - "Welcome to my World," latex on canvas, by Skyla Wayrynen
“Welcome to my World,” latex on canvas, by Skyla Wayrynen. (photo from Art! Vancouver)

He gave the example of an exhibit of his work that just closed at the University in Minnesota. The exhibit, he said, was “part of encouraging dialogue between the Jewish student and Islamic student bodies. The message is that we must pray and work for a better world, that tikkun olam is to wake up every day and say that the world has been created for me alone, and that I must make it a better place for everyone.”

Teal Wayrynen is working toward a similar goal – making the world a better place – in a different way.

“I received my associates degree in psychology from Capilano University and am graduating this year with my bachelor’s degree from Simon Fraser University,” she told the Independent. “I will then combine my art with my counseling and do a master’s program for art therapy after I travel for half a year.”

At last year’s Art! Vancouver, Teal Wayrynen featured her Pop Icon collection. This year, she said she is “experimenting with charcoal and acrylic paint and drawing female bodies.”

Right now, her favourite medium is acrylic paint mixed with spray paint, she said. “I just started to mix mediums and use molding paste, acrylic paint and charcoal on top,” she added.

Morris has also been delving into new methods and media.

“I have continued predominantly working on flowers, however, I have introduced a new colour palette, as well as more abstraction within my floral pieces,” she told the Independent. “I’ve also continued with my free, fluid style and introduced some abstract landscapes using the new colours. My inspiration comes from the beautiful flowers that seem to surround me every day. Every season brings on something new and I am inspired by their shapes and colours.”

She has been working on a new series for Art! Vancouver, Morris said, “experimenting with a couple of new techniques and colours. They will be mainly florals and will all coordinate in style so that there is consistency within my pieces. I work predominantly in acrylic.”

She added, “I am hoping that my growth as an artist is shown in my new pieces and that my work continues to evoke my viewers’ emotions through visual imagery.”

Art! Vancouver opens May 25 at the convention centre with a VIP preview at 6 p.m. and the gala at 7 p.m. The show runs May 26-27, noon to 8 p.m., and May 28, noon to 5 p.m. A one-day pass is $15 (online) or $25 (at the door); $8 for children under the age of 14. A multi-day pass is $40 and a VIP pass is $100. Tickets to the opening gala are $30. Visit artvancouver.net.

Format ImagePosted on May 12, 2017May 9, 2017Author Cynthia RamsayCategories Visual ArtsTags Art! Vancouver, Johanan Herson, Lauren Morris, Lisa Wolfin, Michael Abelman, Skyla Wayrynen, Taisha Teal Wayrynen
Artists’ views of friendship

Artists’ views of friendship

Orly Ashkenazy’s “Strings.” (photo by Olga Livshin)

The Festival Ha’Rikud group exhibit at Zack Gallery, Celebrating Friendship, presents 23 artists in a variety of styles and media. Each artist, in his or her own special way, explores the theme of friendship.

Photographer Judy Vitek interpreted the theme literally. The children in one of her photos and the texting teenage girls in another live hundreds of miles apart, on different continents, but their friendships are unmistakable.

photo - Gaye Collins’ “Friendship through the Sands of Time”
Gaye Collins’ “Friendship through the Sands of Time.” (photo by Olga Livshin)

On the other end of the spectrum, the abstract canvas by Lauren Morris could be seen as a medley of lines and colours, intertwining and mixing like friends at a party. Or perhaps it is a firework explosion. Or a flower bouquet a friend brought one summer afternoon.

Flowers bloom in Carl Rothschild’s paintings as well, but there is nothing abstract in his imagery. Maybe the artist glimpsed his poppies and lilies in a friend’s garden or on a neighbouring street. Cheerful and unblemished, his flowers are his friends. They wave their bright petals in recognition of their creator’s love for his home city.

In contrast to Rothschild’s decidedly local milieu, Gaye Collins’ painting, “Friendship through the Sands of Time,” feels like an exotic metaphor. Two black figures stroll away from the viewer through a vague landscape, reminiscent of yellow dunes or poetic imagination. The painting is dreamlike, and the figures undefined. Friends or lovers, they tell a story everybody knows, but nobody remembers.

Another metaphor, Jennie Johnston’s small and elegant quilt, is a labyrinth, a place of search and contemplation, a path leading into the heart. Whose heart? Everyone must decide for themself.

photo - Lori-ann Latremouille’s “Flowers of Friendship”
Lori-ann Latremouille’s “Flowers of Friendship.” (photo by Olga Livshin)

Between conceptuality on one hand and photographic precision on the other, two paintings stand out – two of the few where faces play the major role. While Yodhi Williamson’s “Chance Meeting on 4th Ave” conveys the simple joy of accidentally bumping into an old friend, Lori-ann Latremouille’s “Flowers of Friendship” channels a more complex narrative. In it, undertones of doubt and surprise mingle with recognition and kinship in the artist’s deceptively transparent double portrait.

Faces also appear in Sima Elizabeth Shefrin’s two tiny fabric panels, but here they resemble primitivistic art, innocent and childlike, ideas rather than portraits. In both panels, an Arab and a Jew refuse to succumb to the current political facts – they want to be friends.

Hope also emits from Alina Smolyansky’s shining piece “Jerusalem Domes of Faith.” Three temples of three different faiths grow out of the same root, united inside one hand, one hamsa, one finite world.

photo - Alina Smolyansky’s “Jerusalem Domes of Faith”
Alina Smolyansky’s “Jerusalem Domes of Faith.” (photo from the artist)

Pamela Cohen explores a different aspect of hope: an aerial view of a brightly coloured patchwork of countries and borders. Could friendships develop across those delineated borders, as the artist implies? Or is it wishful thinking?

Orly Ashkenazy’s composition “Strings” doesn’t feel very hopeful, although its meanings resonate on many sublayers. At first glance, the painting is a random collection of rough face drawings. They look like pencil sketches. A tangle of cotton strings stretch and intersect, cross and turn, connecting those faces. The strings bind them, bind us all; however, a splash of red paint runs from top to bottom of the painting, dividing it into two separate parts like a river of blood. No string crosses the river, no connection manifests between its two sides.

photo - A tapestry by Vladimira Fillion-Wackenreuther
A tapestry by Vladimira Fillion-Wackenreuther. (photo from the artist)

Another work, a tapestry by Vladimira Fillion-Wackenreuther, pays tribute to Prague, the city of the artist’s youth. Tinged with nostalgia, the woven image is playful, uplifting. It reflects Prague’s medieval architecture, its culture-infused streets and traditional Czech marionettes. The city is indisputably the weaver’s friend, and she invites all of us to join in the friendship.

Many other artists are featured in the show – Aurel Stan, Ava Lee Millman Fisher, Beryl Israel, Claire Cohen, Gail Davidson, Joel Libin, Joyce Ozier, Monica Gewurz, Marion Eisman, Patricia Haley-Tsui, Sidi Schaffer – and each has enriched the concept of friendship with his or her unique perspective, talent and skills.

The exhibit opened May 4 and runs until May 22.

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

 

Format ImagePosted on May 12, 2017May 9, 2017Author Olga LivshinCategories Visual ArtsTags art, JCCGV, Zack Gallery

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