Visual Arts

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].

Düsseldorf returns painting

Wilhelm von Schadow’s “The Artist’s Children” (1830).

The German city of Düsseldorf reached an agreement recently with the heirs of Max Stern (1904-1987), a Jewish art dealer forced to flee the city in 1937, ending a long-standing battle over the ownership of a painting, according to The Art Newspaper, which first reported the deal.

The family portrait from 1830, “The Artist’s Children,” by 19th-century Romantic painter Wilhelm von Schadow, has been held by the city since 1959, when it acquired the canvas from a private collector. It was discovered when a researcher from the National Archives in Ottawa found it in a catalogue for a 1967 Düsseldorf Museum Kunstpalast exhibition, which listed the painting’s location as the Stadtmuseum. In recent years, the Max Stern Art Restitution Project, based at Montreal’s Concordia University, and the Dr. Max and Iris Stern Foundation sought to reclaim it, contending that Stern sold the painting under duress.

Founded in 2002, the Stern Project, headed by Dr. Clarence Epstein, is seeking to track down the 220 Old Masters and Northern European artworks that formed Lot 168 in the November 1937 sale at Cologne’s Mathias Lempertz auction house, known as Auktion 392. The paintings constituted the inventory of Düsseldorf’s Galerie Stern that Nazi officials forced him to liquidate at vastly discounted prices. As well as the 1937 auction canvases, the Stern Project is seeking to regain the paintings the art dealer left with Cologne shipping agent Josef Roggendorf, which the Gestapo confiscated in 1938, when Stern was already in Britain.

As part of the agreement, Düsseldorf handed over the portrait on condition that the municipality immediately buys it back. The terms of the settlement, including how much the city paid to re-acquire the artwork, were undisclosed.

In a press release, Düsseldorf mayor Stephan Keller said he was pleased with the “fair and just solution” between the parties and that von Schadow’s artwork “will remain in Düsseldorf.” He added that the painting will go on view at the city’s Museum Kunstpalast starting in August.

Stern took over Galerie Stern on Königsallee, which was founded by his father Julius, in 1934. By order of the Nazi government, the gallery was “aryanized” in 1937. Its inventory was sold at a forced auction for a fraction of its value.

Armed with a single suitcase stuffed with his remaining possessions, Stern fled to London that year. But, in May 1940, when Hitler’s invasion of Britain seemed imminent, Scotland Yard rounded up more than 2,000 German and Austrian citizens, mostly Jews, and incarcerated them as enemy aliens. Stern was sent to an internment camp on the Isle of Man.

Hearing that some detainees were being sent to Canada to free up soldiers guarding British camps, Stern volunteered to join them. In North America, he believed, he would be well-positioned to help his mother and one sister in Britain, as well as his other sister and her family in France. But Canada, where he was greeted by bayonet-wielding soldiers, was even less hospitable than Britain. As Stern recalled years later, “We had to stage a hunger strike to convince the Canadian authorities that we were certainly not Nazis but, on the contrary, anti-Nazi.”

Held in a camp first near Fredericton, N.B., and later in Farnham, Que., he was put to work cutting down trees. Still, he remained optimistic, thankful for the food, shelter, clothing, exercise and 20 cents per day in pay. He also welcomed the opportunity to teach. Twelve years earlier, he had earned a doctorate in art history, which he put to use in classes for his fellow internees.

Stern’s talent and positive outlook caught the attention of William Birks, scion of the Montreal jewelry family, who headed the local branch of the National Committee on Refugees. Birks was openly critical of Canada’s restrictive and antisemitic immigration policy, which he called “narrow, bigoted and very short-sighted.” He believed the government should have sent trade missions to Europe to recruit men like Stern, “not wait for them to seek and beg us.” In 1941, he sponsored Stern’s release and move to Montreal.

Needing a job and hoping to assist in Canada’s war effort, Stern looked for work in an airplane factory. When he was not hired, he turned to the thing he understood best – art. “You’ll starve,” people told him, but he was certain he could be successful as a dealer in Montreal, because he had spotted a void he knew how to fill. Most of the city’s galleries were pushing stuffy 19th-century European genre and landscape paintings. No one was promoting or selling home-grown works because, as he later explained, “Canada didn’t have any confidence in its own artists.”

Stern pitched his vision to Rose Millman, who had just opened a space on rue Sainte-Catherine called the Dominion Gallery of Fine Art. Impressed by his assurance and expertise, she offered him a job for $12.50 a week. Stern said he wanted $17.50 and her promise to make him a full-fledged partner once he built up her business by conquering Canada, as he put it, “by selling Canadian artists.”

Within months, he was mounting exhibitions by contemporary Canadian painters. Over the years, they would include John Lyman, Goodridge Roberts, E. J. Hughes, Stanley Cosgrove, Jean-Paul Riopelle, and others whose names he would play a pivotal role in establishing. Stern secured their loyalty and best work by offering them monthly retainers for an agreed-upon number of works, already an established practice in France, Britain and the United States, but not yet in Canada.

Stern’s first major coup came in 1944, when he visited Emily Carr, then 72, at her home in Victoria. She showed him a room packed with 300 paintings. Struck speechless by her talent, he asked if he could mount an exhibition.

Laughing, she replied, “You will not sell a single painting.” The recipient of critical praise, Carr had yet to enjoy commercial success. “If you let me choose the paintings,” Stern replied, “I think I can make it a perfect success.”

In 1947, Stern and his wife Iris became the sole owners of the gallery.

Following the defeat of Nazi Germany, Stern endeavoured to track down his confiscated paintings. His efforts were largely unsuccessful. He died childless in 1987, and left his estate to Concordia University and McGill University in Montreal, as well as Hebrew University in Jerusalem.

The three schools later founded the Max Stern Art Restitution Project to reclaim the estimated 400 artworks lost during the 1930s. To date, the project has recovered 24 pieces, including paintings by Otto Erdmann, Nicolas Neufchatel and Jan Brueghel the Elder.

The case of von Schadow’s “The Artist’s Children” proved to be particularly complicated due to questions of provenance. When the city of Düsseldorf acquired the portrait in 1959, it was hung in the office of the city’s mayor. Decades later, when the Stern Foundation filed a claim for the artwork, it pointed out that, in 1937, Galerie Stern allowed for the piece to be reproduced in a book about paintings of children. But Düsseldorf city officials pushed back, arguing that the book did not prove the gallery owned the artwork at that point. There was no evidence of the painting being surrendered under Nazi persecution, the city contended.

In 2017, a scheduled exhibition in Düsseldorf about Stern and the Restitution Project was abruptly canceled due to local opposition, leading to intense controversy. The city’s stance apparently softened following the 2020 municipal elections.

“We couldn’t prove that it was not a restitution case, so we, as the city government, recommended to the assembly that it should be restituted,” Miriam Koch, the Düsseldorf city official in charge of culture, told The Art Newspaper. “The big parties in the city council supported restitution.”

According to Lynn H. Nicholas’ 1995 book The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War, more than 140,000 pieces of artwork were looted under the Nazi regime. Most of them remain unclaimed.

Gil Zohar is a writer and tour guide in Jerusalem.

Check out JQT Artisan Market

(photos from JQT Vancouver)

The JQT (Jewish Queer Trans) Artisan Market on May 15, 6-9 p.m., at the Peretz Centre features several local artists, and international performer Stav Meishar presents Oy Slay! at 8 p.m. For more information on the market and other JQT Heritage Month events, including the launch of the B.C. JQT Oral History Project at the Zack Gallery on May 28, visit jqtvancouver.ca.

Celebrating 30th year

This year’s West of Main Art Walk will be event founder Pnina Granirer’s last open studio. (photo from Pnina Granirer)

In European cities such as Paris, art has been blooming for centuries and is an essential component of life and culture. Unfortunately, in the relatively young city of Vancouver, art was barely noticed in the early ’90s.

While living in Paris in 1992, I discovered an amazing number of galleries and museums and spent every free moment gorging myself on a wealth of art. One of the most exciting happenings occurred in the spring, when an unusual event burst onto the city: Le Génie de la Bastille. All around the arrondissement (neighbourhood) of the Bastille, hundreds of artists opened their studios to the public for an entire week. A large exhibition at the City Hall was launched and maps were handed out to the public, showing the location of each studio. Every day, map in hand, I would go up and down the ubiquitous five-floor buildings in the area, soaking in the opportunity of seeing the great variety of works and talking to the artists.

Too soon, I was back in Vancouver, still thinking with much pleasure about that wonderful week in Paris. Getting together with my artist friend, Anne Adams, who passed away in 2007, I described to her the exciting days spent visiting the artists’ studios in the City of Lights, when a sudden thought occurred to me. Anne, I said, what if we tried doing this here? Are any artists living in our neighbourhood, who might be interested?

Anne was as excited at the idea as I was, and we approached the now-defunct local Courier newspaper, which was very supportive and published an article with a call to artists. We did not have to wait long for the telephone to start ringing. To our delight, we discovered a good number of artists living in Point Grey, Kitsilano and Dunbar/Kerrisdale who wanted to participate.

A small group of us got together to plan the event. We needed a venue to have an opening exhibition, followed by a weekend when the artists would open their studios and their homes to the public. This had never been done before in Vancouver!

The West Point Grey Community Centre at Aberthau offered its space and the first exhibition opened in 1993. Word spread like wildfire. We were inundated with calls from artists who wanted to join. This will be too much for one weekend, I thought, let’s keep it small and limit the number of studios to no more than 20, so that everyone’s work could be seen.

I had the idea to hold the Art Walk over three weeks, one week for each neighbourhood. There was a lot of work to do, all of it voluntary. This was a time without the internet, so we used a “telephone tree” and the mail. Anne was an excellent organizer. I was quite idealistic at that time and suggested that we do not ask for any grants or taxpayers’ money, although donations from businesses and private donors were welcome. We would prove that artists had initiative and could do such an event by themselves – and it worked! We proved that artists were capable of contributing and enriching their communities by sharing their art and creativity.

We needed a name that would represent us. After sifting through many names, we decided to call ourselves Artists in our Midst, as we were all artists living in the midst of our community. By two years later, our idea had caught on and spread all over the city and the Lower Mainland, and we are all culturally richer for it.

Over the 30 years since we began, much has changed, including the name, which is now West of Main Art Walk. We are now back to only one weekend, but many new artists have joined us. Everyone is invited to visit us the last weekend in May, enjoy the art and perhaps take some home to live with.

As for myself, all of my works will be offered at 50% discount. And I will repeat last year’s idea of a fundraising sale to benefit Stand Up for Mental Health, founded by my son, David, the recipient of a Governor General Meritorious Service Medal. He teaches stand-up comedy to people with mental illness, as a way of building confidence and fighting public stigma and has been invited to work all across Canada, the United States and Australia.

This will be my last open studio and sale. Hope to see you!

West of Main Art Walk features more than 50 participating artists, including many Jewish community members, who invite visitors to their studios May 27-28, 11 a.m.-5 p.m. For the studio map and more information, visit artistsinourmidst.com.

Immerse yourself in artwork

Art House SF’s Max Khusid is one of several artists who will be at Art Vancouver May 4-7. (photo from Art House SF)

Once again, galleries and artists from across Canada and around the world will come together to exhibit their work at Art Vancouver, which takes place May 4-7 at the Vancouver Convention Centre West. At the annual fair, attendees can join the opening night party, purchase art, listen to various talks, take part in classes, and more.

Among the exhibiting artists are local Jewish community members Lauren Morris, Taisha Teal, Sky Lilah, Talin Wayrynen and Lisa Wolfin, who will also be teaching art classes during the fair. In addition to the stories you can find on jewishindependent.ca about these artists, visit their websites for more information: Morris (lmdesignsstudio.com), Teal (taishateal.com), Lilah (skylilah.com), Wayrynen (imtalin.com) and Wolfin (lisawolfin.com).

Other participating Jewish community members include Max Khusid of San Francisco gallery Art House SF (arthousesf.com) and a couple of the gallery’s artists, Tavalina (Rinat Kishony) and Max Blechman, who, with husband Kazu Umeki, comprises the duo BLECHMEKI (a portmanteau of their last names).

Khusid spent the first 20 years of his professional career in the world of technology, and plans to spend the next 20 years diving into the unknown and immeasurable world of art. He is inspired by the mystic art and adventurous life journey of Russian painter, explorer, archeologist and philosopher Nicholas Roerich (1874-1947).

Tavalina lives in Israel and her work “Jerusalem” was recently featured on the cover of a book by the late Amos Oz. A graduate of the Israel Institute of Technology with a bachelor of architecture, she worked in the field for several years. After a personal crisis in her 30th year, she began to paint, devoting herself to art. At the same time, she embarked on a journey of personal discovery and traveled many places, eventually returning to Israel, where she continues painting and presenting her work, as well as teaching art.

Blechman, originally from New York, lives in San Francisco. He and Umeki use mass-produced American pottery from the 1930s to 1980s to create photo tableaux. At first glance, the individual pieces of pottery appear identical, but closer inspection reveals variations both in form and colour. Indeed, the Japanese concept of wabi-sabi (appreciating beauty that is imperfect, impermanent and incomplete in nature) reverberates throughout their pottery.

For the full list of Art Vancouver artists and classes, as well as tickets for the fair, visit artvancouver.net.

– Courtesy Art Vancouver

Designing the 12 tribes

Artist Anna Marszalkowska stands in front of “Levi,” which is part of her Tribes series, which is on exhibit at the Zack Gallery until May 4. (photo from Anna Marszalkowska)

The challenge of visually depicting the tribes of Israel has attracted many famous artists over the centuries. For example, on the 25th anniversary of the state of Israel, Salvador Dali, inspired by descriptions in the Torah, created a series of watercolours, “The Twelve Tribes of Israel.” Before that, in 1962, Marc Chagall made his famous stained-glass windows, “The Twelve Tribes,” for a synagogue in Jerusalem. Anna Marszalkowska, a local Vancouver artist of Polish origins, fits easily into this august company. Her solo show, The Tribes, opened at the Zack Gallery on March 29.

Marszalkowska grew up in Poland, but studied graphic design and worked as a graphic designer in London, England. “Diversity is what made my design path exciting,” she said in an interview with the Independent. “I started my career as a freelance web and graphic designer and then moved to video design and editing, as well as motion graphics and animation.”

Five years ago, she and her husband moved to Canada, but they lived and worked in the eastern part of the country. They relocated to Vancouver two years ago.

“We came here during the pandemic,” she said. “We wanted to try something different. For an outdoor person like myself, this is a great place. The nature is beautiful, and everyone is very friendly.”

She also changed the direction of her professional life. “I work with artists in the movie industry, but not as an artist myself,” she said. “I understand artists because of my past as a graphic designer, but I wanted less time at the computer screen. I wanted to free my creativity for more personal projects, which was hard to do while working as a graphic designer. Then, my creativity was fully engaged in my professional activity, but, on the other hand, I was limited by clients’ requirements. After a full day of work … I was often tired, I wanted to relax. Now, my creativity is freed. I have more time for my artistic experiments. I started abstract painting and I love it. Just me and a painting – it calms me.”

But even while working full time as a graphic designer, she still found energy to search for her individual style and themes. One of them was her Tribes series. “In 2010, I completed a print production course, and this series was the result.”

The series consists of 12 large digital prints, each one corresponding to one of the tribes of Israel. Although Marszalkowska’s version is an entirely modern take, it involves ancient symbolism, which originated in the Hebrew Bible. The artist conducted deep research for this project, and the end results are simultaneously stunningly simple and visually compelling.

“I had a blog before and, when I put the images online, many people expressed their interest. They wanted to buy one or several or all of the images.”

For the artist, this body of work has meaning beyond its commercial success. “It was a personal journey. I was searching for my Jewish ancestry. My grandmother grew up in a town in Poland where most citizens were Jewish before the war. She might have been part Jewish herself, but after the Holocaust, I had no one to ask.”

Instead, she studied the Bible and tried to interpret the narratives within a cultural context. “The symbols of the tribes are by no means fixed,” she explained. “Every artist could have their own interpretation, as the biblical texts describe the sons of Jacob allegorically.”

In her interpretation, the traditional symbols are given a contemporary, stylized appearance. “I explored the relationship between geometric shapes and lines,” she said. “I used repetition and symmetry to keep balance in each individual design and all 12 together.”

She also leaned towards a minimalistic approach, where a symbol of the tribe is centred on a one-colour background, with no other embellishments to attract a viewer’s attention. “In the original design, I had an ornamental frame around each image, but I got rid of them. I think less is more,” she said. “COVID made me realize that my focus should be the meaning, not the decorations.”

In most images, the background colour palette reflects that of the tribe, except for Benjamin, the youngest. “His symbol is a wolf,” Marszalkowska said. “He represents all colours of all tribes. To reflect that, I placed a ‘rainbow’ above the wolf. I think it is his spirit or maybe his song, Or his breath. It would depend on your own interpretation.”

In some of the designs, she incorporated photography for texture. “I used Adobe Illustrator to combine my photographs with my digital illustrations,” she said. For Simeon, her symbol is a tower, and she put her photos of bricks to good use in her pictorial tower construction. For Zebulun, whose symbol is a ship, she employed photos of water. “Issachar’s symbol is a donkey with a burden,” she said. “I used my photos of wood for the donkey’s load.”

When different sources offered different visual symbolisms for a tribe, the artist’s scholarly touch led her towards her own esthetic. For example, in the case of Levi, some documents don’t count him as a tribe and don’t offer any symbols for him. Historically, the Tribe of Levi wasn’t given any land, but its men served as religious leaders and teachers. Maszalkowska decided that Levi’s description as God’s Chosen Tribe warranted its own image: a breastplate of a high priest. The breastplate is embedded with 12 gemstones, each inscribed with the name of one of the tribes in Hebrew.

“Overall, the series is an invitation for everyone to embark on their own journey, to reflect on their own purpose and fulfilment,” said Maszalkowska. “Ultimately, I hope that my art will connect with the viewers and inspire them.”

Tribes runs until May 4.

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

Museum releases 40th Scribe

Mordechai Edel is among the artists featured in the latest edition of The Scribe, which will be released April 19 at VanDusen Botanical Garden. (photo from JMABC)

The Jewish Museum and Archives of British Columbia (JMABC) is releasing its 40th issue of The Scribe, which celebrates the lives of B.C. Jewish residents by focusing on one sector each edition. The official release of the Visual Arts Issue will take place on April 19, 7 p.m., at VanDusen Botanical Garden, in the Floral Hall.

The 2022/23 issue features a cross-section of the province’s Jewish visual arts community, including painters, sculptors, mixed media artists, illustrators, textile artists, art educators, art consultants, an art curator and a gallery owner. Features are based on interviews recently documented for the JMABC and interviewees represent several cities and many islands. They include Ron Appleton, Miriam Aroeste, Hinda Avery, Suzy Birstein, Tanya Bub, Olga Campbell, Janis Diner Brinley, Mordechai Edel, Janet Essevia, Jessica Freedman, Linda Frimer, Monica Gewurz, Lori Goldberg, Pnina Granirer, Barbara Heller, Jeannie Kamins, Stacy Lederman, Julia Lucich, Anna Lutsky, Cynthia Minden, Suzy Naylor, Joyce Ozier, Nora Patrich, Marcia Pitch, Jack Rootman, Sidi Schaffer, Phyllis Serota, Elizabeth Shefrin, Carla Stein and Mia Weinberg.

“The Visual Arts Issue of The Scribe is surely one of the most dynamic and visually stunning publications in its 40-issue history,” said Daniella Givon, JMABC president. “Jewish individuals have made significant contributions to our province’s arts and culture sector throughout our history in B.C., and 2023 is a fitting time to take an historical snapshot of artists who are working and thriving here.”

Carol Crenna, managing editor of The Scribe Visual Arts Issue, added, “It’s been an extraordinary experience to meet this group of talented Jewish artists, many internationally known. They are fearlessly innovative, inspiring individuals with the strength and ability to push boundaries and bridge beliefs. They’re also wonderful storytellers with rich life experiences. I found their personal stories fascinating, and often entertaining, but, most important, they made me think differently.”

The publication’s launch will include a silent auction of artworks donated by many of the artists highlighted in the issue. The keynote speaker of the event will be journalist Marsha Lederman, Western arts correspondent for the Globe & Mail. Refreshments will be served. All proceeds are in support of the JMABC.

For tickets ($36), visit jewishmuseum.ca.

– Courtesy Jewish Museum and Archives of British Columbia

Finding community in art

“Nostalgia” by Lovena Galyide (photo by Olga Livshin)

Community Longing and Belonging, the fifth annual exhibition in celebration of Jewish Disability Awareness and Inclusion Month, is now on at the Zack Gallery.

Curated by Leamore Cohen, coordinator of Jewish Community Centre of Greater Vancouver’s Inclusion Services, the participating artists demonstrate a range of artistic levels, abilities and social affiliations, but they all strive to answer the same questions in their artwork: What does community longing look like? How to find a place to belong in our ever-changing world?

Cohen has been the driving force of this show for five years. For her, an unjuried exhibition is the best way to honour the commitment to remove barriers and celebrate community members’ creativity. If an artist wanted in, they were in, professional artist or amateur, Jewish or non-Jewish, young or old. Cohen stressed that inclusion is the basic principle, and participation is what counts most.

Many artists in the current show have participated in the Inclusion Services exhibit before. Although most of the works on display are paintings, there are also photographs and drawings. There are portraits and landscapes, figurative and abstract imagery. Some items are for sale, while others are not.

Many of the portraits are disturbing in their naked emotional anguish. The faces are jagged or crooked, angular or cubical. One of them is clearly inspired by Picasso, but all of them portray loneliness, a search for belonging.

Most of the abstract images are similarly angry or sad. Very little figurative recognition manifests, but the emotions explode out of the pictures, multiplied by dark colours and sharp lines. They depict the pain of isolation, the desire for acceptance.

Not every work is bleak. Clare Palmer’s photograph “Red Maple” is full of natural serenity, as if the photographer found her community in nature and recommends it to everyone.

Roi Alexander M. Sanchez’s painting with a long and winding title starting with Clean Environment shows a man and a woman cleaning the land, collecting garbage into sacks, together with their friends in the background. The cleaning they are doing is obviously a community event, and the artist emphasizes this with bright colours and cheerful composition. The painting radiates gladness, with a child-like flare. The author seems to say: we clean our home together.

Togetherness also seems to be the main meaning of Aileen Leong’s untitled piece, where two hearts are pierced by one arrow. Connected by this arrow of love, the hearts fly above the mountains on the golden wings of joy.

Lovena Galyide, on the other hand, doesn’t speak of love in either of her two paintings. Both are larger than most of the others in the exhibit. Both feature a single woman. In one, called “Say Yes to Your Open Door,” a girl lifts the curtain of night above her head, allowing in the light of the morning. She welcomes a new beginning and abolishes darkness. The painting thrums with hope. The girl is alone, with her back to viewers, but maybe the new day will bring her a new friend. Or a new love is waiting for her on the sunny side.

Another of Galyide’s paintings is “Nostalgia.” It is less exuberant than the first. The woman in this canvas stands in the rain outside the window of a flower shop. The viewers are “inside,” looking out. All they see is a blurry female silhouette under an umbrella. But, inside the shop, flowers bloom. Is that pensive, lonely woman going to enter? Buy flowers? Or is she just passing down the street? So many stories could start with this painting, all going in different directions. It is up to viewers to finish those stories.

Flowers are also the focus of Sandra Yuen’s “Bias.” This painting is large, and the close-up flowers are accordingly huge and gloriously pink, blooming in splendid isolation on the blue background. The painting is reminiscent of Georgia O’Keeffe’s gigantic flowers, capturing the beauty and vastness of nature.

Unlike Yuen’s exposition of colour, another large painting, by Rodrigo Perez Parra, seems composed mostly of melancholy, echoed by its subdued, earthen palette. Its title, “The Dance in the Dream,” reflects its subject: a woman standing thoughtfully beside an open door. Does she dream of a dance in her past? Does she hope to dance again? Where is her partner? Only a hat, hanging beside the door, reminds us about them. Are they coming back? Again, stories abound from this painting, some of which might even have a happy ending.

photo - “Folk Guitar” and “Tree of Life Paddle” by Andrew Jackson — “Folk Guitar” and “Tree of Life Paddle” by Andrew Jackson. *(photo by Olga Livshin)*

In the middle of all the images on the gallery walls, two 3-D exhibits stand out. Andrew Jackson’s “Folk Guitar” and “Tree of Life Paddle” are tongue-in-cheek, almost goofy. Both are real-life objects, painted in a distinctive folksy style. The guitar flaunts soaring gulls gobbling fish. The paddle is painted with the Tree of Life. Although the guitar lacks its strings, perhaps the artist considers music our inescapable community. Or sports (for the paddle)?

Another unique item on display is a small clay tablet called “The AHA Community.” The artists who created it belong to the Artists Helping Artists (AHA) collective. The plaque doesn’t list any names, but Cohen said each of the 11 little colourful figures placed on the tablet’s surface, all engaged in different artistic activities, were made by different members of the collective. They are merry self-portraits, making the tablet itself a representative of all the artists in this show.

According to their website, AHA is an art studio collective in Burnaby, where artists of all abilities and skill levels are encouraged to come together to make art – visual art, music, writing, anything goes. The studio provides space, affordable materials and the opportunity to pursue the individual artist’s aspirations. A large percentage of their membership is artists with complex needs.

Like the JCC Inclusion Services, AHA believes that art is a vital element in our lives, and that inclusion is mandatory. Their mandates are congruent – each invites people to share their feelings through art.

The Community Longing and Belonging exhibit runs at the Zack until March 28. To view the flipping book, visit online.flippingbook.com/view/836064016.

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

Artfully exploring heritage

Lindsey Tyne Johnson (photo from Lindsey Tyne Johnson)

Returning from a Birthright trip to Israel in 2019, artist Lindsey Tyne Johnson was inspired. Learning the aleph-bet, she made a laser-engraved spirit board in Hebrew, but accidentally arranged the letters left to right, as they would be in English, and not right to left, as Hebrew is read. The mistake spurred her not only to create the exhibit Hebrew Spelled Backwards, which is on display at the Kamloops Art Gallery until April 1, but to explore her cultural heritage, from which she had been estranged, and learn more about Judaism.

The other, more sombre, inspiration for the Hebrew spirit board and the exhibit was, Johnson writes in a blog post, a “desire to feel closer to my brother after the events that left him homeless and his eventual passing.”

“Born with the name Liam, my brother changed his name to his chosen Hebrew name, Noah as an adult,” she writes on her website (lindseytynejohnson.com). “My mother had mentioned our Jewish ancestry to us as children, but my brother was the only person to explore it…. I can still remember it as what my mother called ‘one of his many phases’ in his late teenage years. She chalked it up to a phase, but it’s the string I use to tie memories of my brother together.”

“My brother was the first person I witnessed who explored their Jewish heritage,” Johnson told the Independent. “When he moved to Vancouver in his early 20s, he legally changed his name to his Hebrew name, Noah. He struggled a lot with his mental health, and there were times when I felt like I was losing the brother I grew up with. It was an attempt to feel closer to him that I went on Birthright and had a bat mitzvah. I wanted to remember the part of him that was happy, passionate and excited about life.

“My brother lost his life to fentanyl in 2021. It was devastating and broke my family apart,” said Johnson, who has two other siblings. “Many struggle to understand substance abuse/mental illness’s connection to generational or cyclical trauma. It’s unfair to look down upon those who might suffer from those things. I try my best to advocate for the destigmatization of mental illness where I can, though I’ve had to be careful not to let others’ ideas also negatively affect my mental health.”

While not a large exhibit, Hebrew Spelled Backwards is powerful, thought-provoking in a serious way, but also using humour. For the exhibit’s images, Johnson explains on her website, “The sandy colour palette was chosen as a tribute to the desert, a significant location in Jewish history and culture. I use digital media to blend traditional Jewish motifs with modern techniques, creating a dynamic visual experience.”

Johnson said, “Like many artists, my process is sporadic and requires a particular head space to create something I’m happy with. I often have ideas for pieces while doing mundane daily activities; if I don’t write them down, they’re lost forever. I practise a lot of sequential art, which is usually silly comics about everyday life, but they’re generally never seen by other humans. My style reflects the graphic novels I like to consume. I can’t help but be inspired by artists like Craig Thompson and Marjane Satrapi, both visually and thematically. My dream is to produce a graphic novel one day.”

The Hebrew Spelled Backwards exhibit comprises not only Johnson’s artwork, but her voice. Each picture has a QR code and viewers can hear Johnson give explanations of the Hebrew words and some context for the images, making the exhibit more accessible and inclusive. The illustrations variously include Jewish symbols and/or Hebrew text, supernatural elements, pop art iconography (a Warholesque can of Birthright’s Instant Bat-Mitzvah, for example) and current topics of concern, like rapper Ye’s antisemitic comments, poignantly drawn as a short series of cellphone text messages from a mom to her child that ends with the child asking, “mum, why is ye mad at us?” This is one of the works that, as the exhibit description reads, “examines the complexities of identifying as Jewish and the fear and uncertainty that often come with it.”

“I have a couple of fears about identifying myself as Jewish,” Johnson told the Independent. “Initially, when diving into Jewish culture and Judaism as a religion, I was afraid people might not think I was ‘Jewish enough,’ since only one of my parents has Jewish ancestry. My siblings and I were raised without Jewish traditions or education…. Having a bat mitzvah really helped with that fear, though. I’m also grateful that I’ve never really encountered anyone from the Jewish communities I’ve belonged to that has made me feel that way.

image - “RaeF” by Lindsey Tyne Johnson — “RaeF” by Lindsey Tyne Johnson

“The other part of that fear was that people would think differently of me or assume certain tropes or ideologies about me if I publicly identified myself as Jewish. This is an unfortunate reality I’ve experienced, even if subtly. Most commonly, people think I’m OK with antisemitic jokes or jokes that involve the Holocaust. It’s an exhausting thing to experience.”

Putting together the exhibit has allowed Johnson not only to explore her fears, but also her own biases.

“Creating these pieces required me to reflect on the experiences of people like Batsheva Dueck (aka Cynical Duchess, a modest fashion content creator) or more conservative Jews, who experience more assumptions made about them based on their dress or religious beliefs,” she said. “Since working on this exhibition, I’ve been more sensitive to times when I’ve excused antisemitic values expressed by my peers or acquaintances. When I lived in Brooklyn, I lived with someone who spoke quite negatively about Hasidic communities. This has been an excellent opportunity to witness my biases and encourage others to reflect on their biases or assumptions, too.

“It’s also allowed me to tie other pieces of my identity together,” she continued. “I’ve been able to connect my Irish ancestry with my Jewish ancestry, for example. It has given me a sense of wholeness or completeness and I’ve accepted that I can be many things all at the same time and I’ve accepted that that’s OK. We all contain multitudes.”

Johnson went to Ireland this past summer to visit where her Ashkenazi family moved to in the 19th century, and “to visit the Irish Jewish Museum and Waterford treasures.”

“I was probably in the fourth grade when my mother talked to my siblings and me about it,” said Johnson of first learning about her Jewish heritage. “It was after I had come home and talked about how we were learning about World War II at school. It was surreal to hear my mother, an immigrant from England, talk about a side of our ancestry that had never really been discussed before. I didn’t understand what it meant at the time.”

Johnson herself has lived many places. She was born in Edmonton in 1993, but her family moved to Saskatchewan and then Prince George, B.C., shortly after.

“I spent most of my youth in Prince George but moved to Dawson City, Yukon, as soon as I could save up enough money to attend the Yukon School of Visual Arts,” she said. “Yukon SOVA is a one-year foundational arts program. Still, I decided to stay in the Yukon upon completion and remained in the territory for about five years before I moved to Brooklyn in 2018. I was in Brooklyn for only half a year before moving to Kamloops to be closer to my family, but it made a lasting impression. Going from a territory of 35,000 people to my neighbourhood in Williamsburg with four times that amount was dizzying.”

Johnson said she loves the Kamloops Jewish community. “I joined shortly after moving to Kamloops from Brooklyn and felt incredibly welcomed,” she said. “The [Okanagan Jewish Community Centre] president, Heidi Coleman, is a huge inspiration and comfort to me. It’s pretty relaxed in terms of how often we have gatherings. We don’t have a synagogue or a place to meet, so we usually celebrate holidays at someone’s house. The ‘younger’ (20 to 30 years old) of us have a close bond, and I often have a group of us over for various holidays, too.”

Johnson is currently in her third year at Thompson Rivers University, where she is doing a bachelor’s in criminology. “I’m most interested in victimology,” she said. “I think Canada and most of the world fail victims of crime to an astronomical degree. It’s wild to think about how much attention we give criminals without considering how we could better support the survivor or victims of their crimes.”

Artistically, she is planning a piece that more specifically honours her brother Noah. “I want to educate the general public about how the consequences of generational or cyclical trauma can lead to mental health struggles like substance abuse,” she said. “I would like to highlight that it’s not specifically someone’s ‘fault’ for struggling the way they do.”

For more on Johnson, visit lindseytynejohnson.com. Kamloops Art Gallery’s website is kag.bc.ca.

Creating functional artworks

An archival photograph of Andrzej Jan Wroblewski explaining the mechanics of one of his kinetic sculptures, a predecessor of Opus 6. (photo from cicavancouver.com)

During the six decades of his professional life, industrial designer Andrzej Jan Wroblewski contributed to almost every area of artistic expression and human consumption. A list of his works includes cutlery for an airline, an excavator, tapestries, computer software, children’s books, kinetic sculptures, an iron, and a portable shower in a suitcase. His retrospective show, Andrzej Jan Wroblewski: Invisible Forces of Nature in Art and Design, opened Jan. 26 at the Centre of International Contemporary Art (CICA) in Vancouver.

Wroblewski graduated from the Academy of Fine Arts in Warsaw, Poland, in 1958. A year before, as a student, he participated in his first major sculpture competition – for the Auschwitz-Birkenau Memorial. The committee received 426 entries from many countries. Wroblewski and his friend, architecture student Andrzej Latos, designed a way for a visitor to walk through the camp’s horrors, to understand them on a visceral level. Their design used the existing landscape, while the authors acted as composers of the visitors’ experience.

“Our submission was one of only seven selected for the short list,” Wroblewski said in an interview with the Independent. “Before I submitted, I didn’t even tell my sculpture professor. I thought he might have submitted his own concept and I didn’t want him to think I was competing with him, especially if I didn’t win. I was right. He did submit his own proposal and he was one of the seven shortlisted as well.”

After that, there was no more hiding. “But my professor was a wonderful man,” Wroblewski recalled. “He told me that my presentation was so good, I should use it as my diploma project. He also offered me the position of his assistant after my graduation.”

Wroblewski started teaching sculpture, but he doubted the artistic medium would be his future. “After my project didn’t win the Auschwitz competition, someone tried to comfort me,” he said. “They said I could use the idea for some other project, and it made me angry. Re-using that idea felt wrong. The whole concept was created for a special place and purpose; it didn’t belong elsewhere. And that led me to thinking that maybe sculpture wasn’t what I wanted to do. Artists rarely decide what happens to their creations; bureaucrats decide. But if I switched to industrial design, I would have many more chances to give my creations to people: industrial designers create with their users in mind.”

He switched to industrial design and became one of the pioneers in the field in Poland. He submitted proposals for several international competitions and worked on many objects on contract with production companies. An excavator, a scooter, and a set of thin steel cutlery for a Polish airline all originated from that period of his life. He became the first dean of the faculty of industrial design of his alma mater.

“Industrial design changes our behaviour,” he said. “If I design a cup and it goes into production, it could change how people drink. Good industrial design is supposed to make our lives easier.”

Wroblewski was one of the first industrial designers in Poland to use a computer, and even developed special software to help other industrial designers. By 1987, he was a rector of the Academy of Fine Arts in Warsaw. Cracks in the Iron Curtain were already emerging, and the academy started cooperating with one of the best schools of industrial design in the United States. In 1988, Wroblewski received an invitation to teach at the University of Illinois.

“I taught there for 13 years, before I retired,” he said. “After retirement, in 2000, my wife and I moved to Vancouver. Our daughter was already here, working at UBC. I taught at Emily Carr, but for one semester only. I still had too many ideas, too many projects in my head, and I wanted time. Retirement gave me that time.”

Some of his ideas are on display at the CICA gallery. All of these installations employ various forces of nature, which lent the show its name. “In the past,” Wroblewski said, “the division in the arts was much more rigid. You either did sculpture or you painted or you drew. Now, the dividing lines are dissolving. The artist uses what he needs to express himself. One installation might involve several artistic forms in various combinations.”

One of the pieces is an interactive kinetic sculpture called Opus 6. It explores kinetic energy and gravity. There is a moving part with a tablet and a stationary part with a suspended pen. If you put a piece of paper on the tablet and give it a nudge, it begins swinging, and the pen produces a unique abstract drawing on the paper underneath.

photo - A doodle created by Andrzej Jan Wroblewski’s Opus 6 — A doodle created by Andrzej Jan Wroblewski’s Opus 6. *(photo from Andrzej Jan Wroblewski)*

For Wroblewski, Opus 6 was a reconstruction. His original installation was called Opus 5 and it was bought by a museum in Poland. “I decided it was much cheaper to build it from scratch here, in Vancouver, than to transport the original from Poland and back,” he said.

Another installation explores gravity and viscosity and concentrates on water. “I studied music before the art academy [and] I used my own music for the water installation,” the designer shared. “I also built a special maze of Plexiglass to be able to see how a drop of water flows, and then I recorded it all in a light projector and created a video. This installation is a tribute to water, one of the most powerful forces of nature.”

In a separate corner, made dim by the enclosed walls, Wroblewski situated a series of light sculptures. His chandeliers hang from the ceiling or stand on the floor, their radiance interweaving. The shapes and sizes are all different, but the material used is the same: paper-thin strips of light-coloured wooden veneer.

Wroblewski’s desire to explore new materials and new approaches for his work always drove him towards experimentation, towards the unknown. “When I came to the States, I was fascinated by computers,” he said. “I used a program called Paintbrush to create some abstract compositions, but, at that time, there were no printers big enough to give me the large size I wanted. I decided that a tapestry would be the best medium to enlarge those digital paintings. I built a special loom and made a tapestry for each of those paintings. Every pixel in the digital paintings corresponds exactly to one knot in the tapestry. It took me about six months to complete each of the large tapestries. It is how I operate. When I have an idea, I find a way to achieve it.”

Demonstrated side by side with the printouts of his digital paintings on standard-sized paper, his couple-metre-wide tapestries look impressive.

One of his most recent projects is a series of 10 children’s picture books. Each book is about a specific animal, with the amusing pictures by Wroblewski and the text by his daughter, University of British Columbia professor Anna Kindler. “We did it when my great-granddaughter was born, three years ago,” he said.

His latest sculpture dates from about the same period, 2019. “I saw a tree grown through a fence, as if the wires sprouted from inside the tree. It was near UBC. I cut it down and installed it in a wooden frame. It demonstrates how nature could absorb civilization.”

In 2018, for his lifetime contributions to the field of industrial design in Poland, Wroblewski was awarded the Officer’s Cross of the Order of Merit of the Republic of Poland. He was also named one of the three most influential Polish designers of the 20th century.

The retrospective runs until March 3. For more information, visit cicavancouver.com.

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