Visual Arts – Page 2 – Jewish Independent

Connecting beyond art

“Sydney Beach Cliff” (Australia) by Talin Wayrynen.

Art Vancouver’s dictum is “Connect. Inspire. Educate.” This year’s fair brings together almost 100 exhibitors from around the world to Vancouver Convention Centre East April 25-28, and features art classes, guided tours, speakers, panel discussions and a café art crawl. Both veteran and emerging artists participate, and the Jewish Independent spoke with a few artists in the Jewish community who are newcomers to the exhibition world: Matthew Weinstein, Talin Wayrynen and Tara Lupovici.

photo - Untitled #29 (2019) by Matthew Weinstein — Untitled #29 (2019) by Matthew Weinstein.

“I had a chance to volunteer at last year’s show,” Weinstein told the Independent. “Seeing the great professionalism demonstrated by the Wayrynen family inspired me to submit a formal application to this year’s exhibition.”

Art Vancouver was launched in 2015 by Lisa Wolfin Wayrynen. It has become somewhat of a family affair, with this year’s exhibitors including her daughters, Taisha Teal Wayrynen and Skyla Wayrynen; her son, Talin Wayrynen; and her sister, LeeAnn Wolfin.

“We just exhibited in Korea last November, and were invited to participate in another show in Seoul in June, and another show in Taiwan in December,” said Lisa Wolfin Wayrynen, referring to her and her children. “The family act is on the move!”

The 2019 Art Vancouver will be Talin Wayrynen’s second time exhibiting at the fair. An aerial photographer, among other things, he will be exhibiting photos from Australia and New Zealand, and possibly Indonesia. Last year, he said, he displayed photos of British Columbia and Mexico.

Weinstein said he will be bringing a select number of pieces to the show. Describing his art as “abstract and minimal in nature,” he said, “The purpose is to bring peace and tranquility to contemporary rooms…. My passion is to make large multi-coloured pieces that are not just pleasant to look at, but also provoke questioning and inspiration.”

About his creative process, Weinstein said, “The numbers and letters may appear as if they are there to provide meaning when in fact they are just as nonrepresentational as the rest of the shapes. One might ask, ‘Why did you add the number 7 at the bottom right corner of this piece?’ My answer would be, ‘There is no concrete reason behind that decision. It is as random as the rest of shapes, colours and signs you’re seeing. If you’re asking this question then I’ve accomplished my goal to generate interest and promote inspiration.’”

Lupovici, whose artist signature is LUPO, said, “My art is a psychedelic, abstract combination of organic and fluid lines with colour combinations that are inspired by the colours I feel.”

This year’s fair will be Lupovici’s first Art Vancouver, but she has a previous connection to the Wayrynen family. “I went to camp with Taisha and Skyla, Lisa’s daughters,” she said.

A graduate of Kwantlen Polytechnic University’s fashion marketing program, Lupovici said fashion was her main focus, and she has worked in various places, including with her father (Irwin Lupovici), at Bong Wear. “Then, one day,” she said, “I was making dinner and cut a red cabbage in half and boom! My passion for painting was back in my life.”

photo - Tara Lupovici with some of her work — Tara Lupovici with some of her work. *(photo by Adrianna Hankins)*

She has dedicated the last year or so to painting. “Eventually,” she said, “I will mesh my art and fashion design together and have my LUPO label.”

Half-Jewish and half-Chinese – she also speaks Cantonese – Lupovici said, “I definitely would not be the person I am without all the Jewish culture and community that I have been surrounded by. Jewish summer camp was one of the most memorable, loveliest times of my childhood and I am, to this day, close with many of the people I went to camp with. I would not say it has influenced me in design and art, but I do feel being Jewish and meeting other people in the community is inspiring in itself.”

Weinstein also said his being Jewish has had little influence on his work. However, he said, “Having grown up in a suburb of Tel Aviv, I feel connected to my Jewish identity…. The last time I visited Israel was in 2011 and I am very excited to visit again in May…. My upcoming trip is something I look forward to, as it provides a rare chance to explore my roots and reinforces my personal connection to Judaism.”

More travel is also in Wayrynen’s plans, having recently been to Korea, Taiwan, Indonesia, Australia and New Zealand.

“I started using drones just for fun in 2016 and then, in 2017, started using them for film and photography,” he said.

While he couldn’t describe the exact elements of a “perfect” shot, he said, “I like to have stuff that’s unique and can’t really be replicated – like a wave crashing, shots of wild animals or something along those lines.”

As an example, last summer, in Horseshoe Bay, he filmed a group of killer whales, which was later featured by CBC.

Not just anyone is allowed to use drones, of course, and Wayrynen said permission currently depends “on where and for what reason you fly, but it’s soon to be just a licence no matter what.”

In British Columbia, he said, “[I]t’s unlikely to get a permit to fly anywhere remotely populated and even some parks have issues with it. The states are pretty similar and, as for Mexico, I was working on a TV show that did all the paperwork for it, all I provided was the licence and insurance. We were able to film basically anywhere there during the few weeks our permits lasted.”

Weinstein summed up well the importance of venues like Art Vancouver. “If you’re reading this,” he said, “please feel free to come by my booth at the upcoming show and let me know what you think of my art. I enjoy listening to all criticism (both good and bad) and, if you have other suggestions, I’ll be happy to discuss in person.”

For more information on and tickets to Art Vancouver, visit artvancouver.net.

A story told in art and poetry

Olga Campbell’s acrylic painting “Remembering,” above, and bronze sculpture “Twins II” are just two of many artworks she includes in A Whisper Across Time.

Grief is many-faceted. Sometimes, we’re not even aware for what we’re grieving. One of the most beautiful passages in Olga Campbell’s A Whisper Across Time: My Family’s Story of the Holocaust Told Through Art and Poetry (Jujabi Press, 2018) is the following poem:

“I was born with a very deep sadness / a sadness and an anger / as a child I didn’t question this / it was the way it was / when I got older my mother had cancer / she died when I was twenty-two / I thought that my sadness was caused by her death / I had no idea that it was caused by her life.”

“A Whisper Across Time is a heart-warming, emotional journey that reminds us of the suffering and pain that war, intolerance and persecutions create, not only for those who had to endure atrocities but also for the children of the survivors,” notes Dr. David Lee Sheng Tin, author of two books on spiritual health and growth, in the foreword.

In A Whisper Across Time, Campbell gives clear voice to the whispers in her ear, “whispers across time.”

“This is the story of one family out of millions of families who went through the Holocaust,” writes the artist, whose mother lost all of her family during the Second World War. It is “the story of survival and death,” “of how trauma of such magnitude is passed from one generation to another to another….” It is also an ardent call for readers to remember Rwanda, Rohingya, Bosnia, Syria, Afghanistan, Sudan, Iraq, Cambodia…. “[O]ne of every 113 people on the planet is a refugee,” writes Campbell, noting, “by the end of 2016, there were 65.6 million refugees, asylum seekers and internally displaced people in the world” and that “racism, antisemitism and ultra-nationalism are on the rise.” She pleads, “eighty years ago, the world looked away / we must not look away now.”

In an interview with the Jewish Independent last November about the exhibit of the same name that helped launch the book, Campbell updated that statistic. “Our world is a chaotic place right now, somewhat reminiscent of the period before the war,” she told writer Olga Livshin. “There are over 68 million people around the world that are refugees or displaced. My book is not only about my family. It is a cautionary tale. It is about intergenerational trauma and its repercussions across time.” (See jewishindependent.ca/whisper-across-time.)

In 2005, Campbell mounted the exhibit Whispers Across Time. “This art show dealt with memories and losses,” she writes in the book. “Many of the pieces in the show were fragmented, partial in appearance, reflecting both a presence and an absence.”

image - “Twins II” by Olga Campbell — “Twins II” by Olga Campbell.

The exhibit featured masks, rusted metal figures, ceramic sculptures, photographs, mixed media and texts that, explains Campbell, “echoed the same theme of loss and regeneration – a life spirit which emerged from the devastation of the past.” Even reduced in size to fit on the pages of a book and taken out of a gallery setting, this artwork is powerful.

In A Whisper Across Time, Campbell shares some of what she has discovered about her mother, Tania, and father, Klimek Dekler, as well as about her maternal grandmother, Ola Akselrod, and her mother’s identical twin sister, Mania, and brother-in-law, who was also an identical twin, but Campbell hasn’t been able to determine which brother – Manasze or Efraim Seidenbeutel – her aunt married. Campbell recounts how her parents met, the atmosphere leading up to the war, and how her parents survived. Her father’s family also survived. There are no records, says Campbell, of what happened to her grandparents or her aunt during the Holocaust; the Seidenbeutel brothers were murdered at Stutthof concentration camp, a few days before it was liberated.

“My mother must have been completely traumatized by her experiences and her losses,” writes Campbell. “She lived and worked and loved, she still danced … sometimes. But the joy in her heart was not so big. The light inside was dim. And, at night, when she was alone in her room, she cried.”

In A Whisper Across Time, Campbell also talks about preparing for the 2005 exhibition, and some of the strange happenings that occurred, such as how multiple attempts to photograph the art failed – a broken camera, saved images that wouldn’t open on the computer. Her use of language, both in poetry and prose, is emotive without being overly sentimental. And her artwork evokes an emotional reaction, often involving some sadness and always demanding contemplation.

For more on Campbell and to purchase A Whisper Across Time, visit olgacampbell.com.

Exhibit starts with friendship

Linda MacCannell’s photograph of John T’Seleie. (photo from Drew Ann Wake)

The new show at the Zack Gallery, Crossed Paths – which explores the connection between the Jewish and the Dene peoples – has its roots in the federal Mackenzie Valley Pipeline Inquiry.

“In the 1970s, I was a CBC reporter in the Northwest Territories,” show curator Drew Ann Wake told the Independent. “When the government proposed a pipeline through the area, they sent Justice Thomas Berger to investigate the impact of the proposed pipeline [in 1974]. He talked to over 30 native communities to get their input. When he was finished, he issued a report recommending the government settle all the claims on land that the pipeline would pass through before construction started…. They are still settling those claims. The pipeline hasn’t been built yet.”

As a journalist, Wake accompanied Berger and his team on that historic trip. She taped numerous interviews with the local people participating in the inquiry.

“Ten years ago, I found those old tapes,” she recalled. “Only audio tapes; it was so long ago. I thought it would be interesting to go back and talk to all of them again. And let their children and grandchildren listen to their elders’ voices.”

photo - Linda MacCannell’s photograph of Michael Jackson — Linda MacCannell’s photograph of Michael Jackson. *(photo from Drew Ann Wake)*

She invited a friend, photographer Linda MacCannell, to create portraits of some of the participants of the Mackenzie Valley negotiations. Over several years, they traveled to the villages Wake had visited with Berger. MacCannell took photos and Wake filmed her interviews. “We created a show of Linda’s portraits and the stories I collected and went on the road. By now, we’ve exhibited this show in 50 galleries across North America,” said Wake.

MacCannell’s large-scale portraits of various members of the Dene First Nations, who live along the Mackenzie River, constitute the heart of the exhibit at the Zack.

“Two years ago, we gave a presentation at the grunt gallery, an artist-run centre in Vancouver,” Wake explained. “We showed the films. After the presentation, a man approached me. He introduced himself as Michael Shumiatcher, a local artist and educator. He said he knew Justice Berger at the time of the inquiry. Michael was a high school student then, and Berger was his best friend’s father.”

Shumiatcher suggested they work together and present the exhibit to schools around the province. Wake liked the idea, and invited him to join her on her next trip north. Also joining the summer 2018 trip were artist Melenie Fleischer and her husband, cellist Eric Wilson, as well as composer Daniel Séguin.

“Daniel saw the video I made of the drummers the previous year,” Wake explained. “He wanted to write new music to incorporate the traditional drums.”

The group traveled to Fort Simpson, N.W.T., to study the drumming culture of the Dene in more depth.

“Séguin wrote a piece of music, called Dehcho, for cello and the drums,” Wake said. “That is how the local nations call the Mackenzie River – Dehcho. Wilson performed it at the local gallery presentation of our show. The gallery was packed. People sat in the hall and stood on the stairs. He had to repeat his performance for all who wanted to hear it.”

As well, Fleischer and Shumiatcher produced several paintings.

One of Fleischer’s, a herd of bison, is suffused with wild, tumultuous energy. “They were huge,” she said of the animals. “They looked up casually and continued grazing and drinking water in the shallow puddles. We were cautious and maybe even scared as we huddled close in the van to take our photographs. Thrilled at our first encounter with the ancestors of the ancient bison depicted on the cave walls of Altamira, Lascaux and others, I knew then that I was going to paint bison.”

A painting by Shumiatcher depicts Wilson blowing a shofar on the shore of the Mackenzie River. Fleischer and Wilson brought the shofar on the trip as a gift.

“Once we got our invitation from Chief Gerry Antoine to come to Fort Simpson and collaborate with Liidlii Kue First Nation on our cultural exploration of music – cello and drums – we were very excited. We were in New York at the time, and I wanted to bring Chief Antoine something special,” said Fleischer. “All I could think of was that our nation was thousands of years old, as were the indigenous people. With that in mind, we went looking for a ram’s horn from Israel, a shofar.”

They visited several Judaica stores in New York. “It was funny,” said Fleischer, “my husband Eric blowing shofars outside the stores, on the sidewalk. He is a cellist and very particular about sound.”

The next step for the group was to approach the Zack Gallery for a joint show. The Jewish artists’ paintings complement MacCannell’s photography, showing another facet of the northern experience. Just as power and serenity dominate the portraits and the photographer’s triptych of the river landscape, the paintings add a touch of awe at nature and its symbiotic relationship with humankind.

The Zack exhibit also includes traditional clothing made by several Dene artists. “Last year, we won a grant from the Canada Council [for the Arts] to commission northern artists,” Wake said. Of the pieces on display, each has a story. In some cases, the stories are real; they happened to the artists’ family members. For others, the stories are purely imaginary or are based on local folklore. Regardless, every story has a link to the tapes Wake collected in the 1970s and the people she interviewed.

Linda Wolki, known for her needlework, created a traditional yellow coat after she listened to the recording of her mother telling Wake how she hunted seals when she was young. “The woman’s story was amazing,” Wake said. “She was out hunting in the snow and cold, and four polar bears decided to chase her. She laughed.”

A pair of embroidered moccasins, made by Agnes Mitchell, is displayed in a plexiglass case next to the pair her father wore for years. The embroidery on the old moccasins – made by Mitchell’s mother – and the new ones is equally elaborate.

“One story I asked an artist to illustrate was an ancient northern legend about an abandoned woman,” Wake said. “The tribe abandoned that woman in the forest because of her sharp tongue. She only had a few coals for her fire, but she survived. She made herself two cloaks – one of raven feathers and another of rabbit fur – and many more objects.”

Artist Jeneen Frei Njootli has brought the cloaks to life. Her creations, a black cloak of raven feathers and another of white rabbit fur, hang in a corner of the Zack, one above another, as a tribute to her people’s tenacity and their drive to survive in the harshest conditions.

photo - Raven cloak made by Jeneen Frei Njootli — Raven cloak made by Jeneen Frei Njootli. *(photo from Drew Ann Wake)*

“We were very proud to learn that recently Jeneen Frei Njootli was chosen as one of the five finalists for the Sobey Art Award, an annual prize given to the most promising Canadian artist under 40,” said Wake, who then pointed to a blue coat on display. Smiling, she said, “And that coat belongs to Michael Jackson. But not the Michael Jackson of pop music. Our own Michael Jackson, a Vancouver lawyer who, in the 1970s, was part of Justice Berger’s team.”

When Wake started working on this show, one of the new interviews she conducted was with Jackson. “He worked with many First Nation people,” she said, “and I asked him how come he was so empathetic to their plight. He said it was because he was Jewish. When he grew up in London, England, he experienced antisemitism. He knew hunger as a child in post-World War Two Britain. It made him sensitive to others suffering from discrimination. Made him want to help.”

During the Berger inquiry, Jackson befriended one of the local men, John T’Seleie, who organized his community to meet with the inquiry’s lawyers.

“Their friendship has lasted for decades. They’re still friends,” Wake said. “As a child, T’Seleie was a student at a residential school. Like many others at residential schools, he suffered. As an adult, he became an advocate for his people.”

The portraits of these two friends hang side by side on the gallery walls, and the film Wake made of her interviews with them is also part of the exhibit.

“That’s how our entire show started, so many years ago,” she said, “with those two and their friendship: a Jew and a Dene.”

Crossed Paths is at the Zack until April 7.

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

The dangers of drones

An image of drones filling the sky from Reva Stone’s Falling. (photo from Reva Stone)

Multi-awarding-winning Winnipeg artist Reva Stone researched drones for three years and then began creating art to share some of what she had learned about how the technology affects our lives. The exhibit erasure, which comes from that research, features three works – Falling, Atomic Bomb and Erase. It is on display at the University of Manitoba’s School of Art Gallery until April 26.

“I’m very much an observer of what’s going on with new technologies, so when I saw the impact that UAVs [unmanned aerial vehicles] were starting to have – especially with war and changing the nature of war – I applied for and got a Canada Council [for the Arts] grant to do a lot of research and reading about what actually is happening,” Stone told the Independent.

She went so far as to get two quadcopters, to understand what they really sounded like, and hoping to use them in her art, which she has.

“I was working on this, and then I started thinking about our skies filling up with these commercial and militarized drones and how they were basically machines … that could fall out of the sky … that could crash into each other, that could bring down an aircraft. We were filling up our skies,” she said. “And then, about two years ago, I was reading and realized that we were now targeting not other countries, but targeting humans.”

photo - Artist Reva Stone’s exhibit erasure warns about the use of drones in our society — Artist Reva Stone’s exhibit erasure warns about the use of drones in our society. *(photo from Reva Stone)*

Stone ended up making five or six individual pieces that deal with different aspects of the use of drones, but relate to one another. Depending on the exhibition venue, she decides which ones will work best together in a particular space.

Originally, drones were developed for spying purposes for the military. Later versions were outfitted with weapons for protection and assault. More recently, commercial drones have been developed. Now, anyone can buy a drone for as little as $20. This easy accessibility is challenging our society, contends Stone, causing hazards to planes in airports, affecting people at parks and disrupting the peace.

“Drones are becoming these things that fly in the air that have no human controllers … that are almost autonomous,” she said.

Stone often uses computers, movies, motors and speakers to help fully immerse visitors in her art pieces.

The work Falling, she said, “is an animated video that I made that has to do with what I see as a very new future, wherein UAVs are ubiquitous, because of civilian, military, commercial and private use.

“It’s almost slow motion or balletic on a massive screen,” she said. “There’s constant falling out of the skies, sometimes flipping as they fall. Sometimes, there’s a drone that has exploded in the sky … sometimes, small and far away and, sometimes, they’re so big when they fall through the sky that they look almost life-size and you’ll have to back away from the screen … that will be the feeling you get. Then, sometimes, there are these little windows that open up and you look through, into another world, and that world is more about what we’re fighting about – the fact that we are actually using these to make war. Other than that, some of them are commercial, some are cute, some are scary looking … and it’s like a continuous rain coming down.”

Atomic Bomb is also a film.

“I started with an early atomic bomb explosion,” said Stone. “It was a 30-second film and I made it into an almost 20-minute video. I really slowed it down and altered the time to give the impression that the person in the exhibition space is looking at a still image caught in time. I show this video together with texts that I found speak to the history of the use of radio-controlled airplanes and UAVs, and to longheld ideas about collateral damage – the relationship between … the use of atomic bombs and the use of drones and collateral damage, which, to me, is a huge issue with the use of drones as military.”

photo - A single frame from Reva Stone’s Atomic Bomb video piece — A single frame from Reva Stone’s Atomic Bomb video piece. *(photo from Reva Stone)*

The first text is from Harry Truman, the American president who made the decision in the Second World War to use the bomb, and it reads: “The world will note that the first atomic bomb was dropped on Hiroshima, a military base. That was because we wished, in this first attack, to avoid, insofar as possible, the killing of civilians.”

The next one is from John Brennan, Central Intelligence Agency director from 2013 to 2017: “There hasn’t been a single collateral death because of the exceptional proficiency, precision of the capabilities we’ve been able to develop.”

According to Stone, “This is just bullshit. But this is part of the cleaning up of the media presentation of all these ideas and all these things I’ve been researching, that I’ve been noticing going on over time. And, it has actually made me change the name of the work. I was going to call all three of them a totally different name. Recently, maybe a month ago, I changed it to erasure because of the erasure of people, the erasure of a lot of critical dialogue that’s been happening since I started researching in 2015 … how we are mediated, what we are presented with as a culture. The info is so mediated by how it’s reported, and if it’s reported.”

Stone wants “her audience to consider how the capabilities of such technology may be turned against citizens and how governments might, and do, get away with employing them in the name of patriotism in ways that ultimately test the ethical and moral values of its citizenry,” notes the exhibit description. “With news cycles moving so rapidly, the reports of deadly events quickly fall from memory, seemingly erased from public consciousness.”

The third piece, Erase, is interactive. Stone said it is based on what, in her view, the Obama administration practised – the targeting of individuals based on algorithms, mostly guilt by association.

“With this one, I’m actually replicating the procedure,” she said. “I have my two quadcopters that are doing the surveillance and capturing people in the exhibition space, unbeknownst to them. Then, they get captured and saved.

“Then, it’s a process that goes on, that they get played back. And you begin to realize that you’re under surveillance, the people in the space. And, every so often, a target comes up over one of them, one of the captured images. It’s really intense and an explosion occurs, and that person actually comes out of my captured list. That person will never show again. They’ve been erased.”

The exhibit erasure opened Feb. 7. For more information about Stone and her work, visit revastone.ca.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Jewelry that’s easier to wear

This necklace uses snap fasteners instead of clasps [see below]. (photo from Deborah Rubin Fields)

Diane von Furstenberg is attributed with saying: “Jewelry is like the perfect spice – it always complements what’s already there.” Some of us would say that’s all well and good, until you have to ask for help in closing a necklace.

Maybe you can release the spring, which opens the lobster clasp’s arm, but you can’t hold it long enough to actually close the clasp. Or perhaps your hands just can’t negotiate the T into a toggle clasp’s circle. Whatever your exact manoeuvrability problem, one thing is sure, putting on jewelry can be a frustrating experience. And the frustration seems to increase with age.

In The Journals of Gerontology, academics Eli Carmeli, associate professor at Haifa University, the late Hagar Patish and Prof. Raymond Coleman of the Technion state, “Hand function decreases with age in both men and women, especially after the age of 65 years. Deterioration in hand function … is, to a large degree, secondary to age-related degenerative changes in the musculoskeletal, vascular and nervous systems.

photo - The necklace's snap fasteners — The necklace above’s snap fasteners. *(photo from Deborah Rubin Fields)*

“Prehension is defined as the act of seizing or grasping. Aging hands and fingers are especially prone to osteoarthritis and rheumatoid arthritis. It is clear that common tasks involving precision dexterity, two-hand coordination, such as are needed to thread needles, open buttons on clothing or fine-grip tasks, as in holding a pen or cutlery, become increasingly difficult with aging. This is also true with regard to simple handgrip tasks requiring strength, such as opening bottles. The difficulty of performing such tasks may be in part due to declining vision.”

So what are the different kinds of jewelry clasps or closures and how easy are they to use? Today, eight clasps are usually added to necklaces.

The lobster clasp and spring ring clasp have a spring-loaded mechanism. Both operate by fitting one end into the opened spring side, then releasing the spring mechanism to shut.

The fishhook clasp is so named because part of the closure resembles the hook used in fishing: one end is a metal hook, while the other is an oval-shaped case. The hook slides into and locks inside the case.

Somewhat similar in shape to the fishhook, the S hook works by sliding the S-shaped hook onto a ring at the other end.

In a toggle bar clasp, one end is a long bar or T shape and the other is an open shape, usually a circle. The bar slips through the centre of the shape and locks in place.

The barrel clasp is so named because, when closed, it looks like a barrel. This clasp consists of two metal pieces, one on each end of the necklace, which close by screwing together. Likewise, in the slide-lock clasp, one tube slides inside the other and locks in place.

Finally, both ends of a magnet clasp contain magnets, which attract each another and snap together, locking the piece of jewelry in place. While not always particularly attractive, the newer magnet closures can actually look quite pleasing.

Clips designed to be easy to put on. *(photo from Deborah Rubin Fields)*

While all these clasps are relatively secure, if you have dexterity issues, six of the eight might be difficult to manipulate. So, if you’d like to continue wearing certain pieces of jewelry, to what clasps should you switch? For people with handgrip problems, two necklace closures are usually recommended: the slide-lock and the magnet clasps.

Israeli Keren Doron, who has designed and produced gold necklaces, however, is skeptical about a magnet clasp staying closed when the necklace is really heavy. She also warns that it is possible to damage a necklace when switching its existing clasp. There are many ways to do so, although it depends on the different kinds of jewelry. For example, Doron said not all necklaces with stones can withstand the heat of burner re-soldering.

Occupational therapists at Jerusalem’s Shaare Tzedek Hospital suggest that people with dexterity problems switch to necklaces that are long enough to simply slip over the head.

If you enjoy wearing costume jewelry, a new Israeli company offers another solution. Snaps (snaps.co.il) makes attractive necklaces and earrings that completely do away with clasps. Instead, designers Lilach Bar Noy and Inbar Ariav glue snap fasteners to the back of their pendants (using either a single or double set of snaps) and to each end of the necklace chain. Without having to apply much pressure, the male and female parts of the snap attach.

Wearing pierced earrings may also be a problem for people with hand issues. One solution is to wear omega-back earrings with a hinged back that simply flips closed; there are no tiny posts or backs to manipulate.

Neta ben Bassatt’s fashion jewelry addresses the problem of closures in a different manner. As a student at Bezalel Academy of Arts and Design, she won a prize for her coat pins designed especially for people who have visual impairments. Her wood and brass pins may be used with heavier clothes, such as cotton, wool, linen, etc. Two of her pins have a kind of clasp that can fasten best to a shirt collar or the lapel of a suit, where it is easier to get to the other side of the fabric. Her other designs feature a long, open needle pin, which can be attached anywhere on the fabric. Importantly, the wearer does not need to touch the pin itself, thus eliminating the chance of sticking oneself.

Is jewelry important? The answer depends on whom you ask. One thing is clear: jewelry has been around a long time. As early as Chapter 24 of the Book of Genesis, Abraham’s chief servant (Eliezer) is giving jewelry to Rebecca’s family. And, with people living longer, more and more adaptability and accessibility issues will arise, so we are likely to be talking about jewelry for a long time to come.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Quality, affordability

Gaby Aghion started the fashion line Chloé in 1952. (photo from Chloé Archive)

Antisemitism was increasing in Egypt in 1945. Among the 80,000 Jews forced to leave their homes was Gabrielle (Gaby) Hanoka. Her birth name may not be recognizable to most, but the fashion house she created – Chloé – unquestionably is.

The youngest of seven children, born in 1921 in Alexandria, Egypt, Hanoka derived her distinct combination of business and creative style from her parents. Her father was an affluent cigarette manufacturer and her mother’s passion for fashion resulted in demanding copies sewn of all the latest Parisian couture. Hanoka was given a French education and, with that, embraced an ample affection for everything French.

Fittingly, Hanoka, together with Raymond Aghion, her elementary school sweetheart and subsequent husband, moved to Paris, making it home, with their son Philippe, until her passing at 93 in 2014. Befriending the upper stratum of European artists, such as Picasso and French poet Paul Éluard, earned them popularity within the art scene. Coming from a prosperous family enabled Aghion the luxury of opening a modern art gallery. The couple evolved into avid art collectors over the years.

Living a comfortable lifestyle was not enough for Gabrielle Aghion. In 1952, she resolved to flourish. “I’ve got to work … it’s not enough to eat lunch,” she is said to have informed her husband. Fashion was her choice.

She named Chloé after a friend who believed she lacked allure. Turning an extra room in her apartment into an atelier, she created six dresses, which set her success in motion. The styles corresponded with her socialist and free-spirited values, embodying youth and femininity using the finest fabrics. She wanted her designs to be accessible to regular people, without compromising on quality, coining the term prêt-à-porter, ready-to-wear.

Wanting to focus strictly on design, she partnered with Jacques Lenoir, who steered Chloé into a label. From 1956, Chloé’s fashion collection was shown twice a year at the grand Café de Flor on the Boulevard Saint Germain. These events became a fashion highlight for Parisian women. Aghion not only demonstrated an eye for fashion, but she also had a great sense for talent. In 1966, she hired the aspiring Karl Lagerfeld, who remained head designer until the mid-1980s. (Lagerfeld passed away just last month, at age 85.)

Chloé became the choice of some of the world’s most fashionable and beautiful women – Brigitte Bardot, Grace Kelly and Jackie Kennedy, to name a few. The first flagship boutique opened in 1971, followed by hundreds more worldwide. In 1975, Chloé perfume was launched, and also became an ongoing success.

In 1985, Aghion sold her company to the Richemont group. She remained active throughout the years, never missing a fashion show. The spirited Aghion continued to express her opinions before each collection and head designers took her insights into consideration.

A year before her passing, Aghion was awarded the highest merit in France, the Legion of Honour, for her contribution to the country’s fashion industry. Recollecting her starting point, she said, “The world was opening up before my eyes and I believed I could do anything. I felt I had wings.”

Her flight continues to shape the next generations of fashion enthusiasts.

Ariella Stein is a mother, wife and fashion maven. A Vancouverite, she has lived in both Turkey and Israel for the past 25 years.

Mixing abstract, nature

Sidi Schaffer’s current exhibit, In Partnership with Nature, is at the Zack Gallery until March 3. (photo by Olga Livshin)

Sidi Schaffer’s art has gone through several different incarnations. At the beginning of her career, in postwar Romania, she adhered to a realistic approach. “For several years, the central images of my work were people,” she said in an interview with the Independent.

After her family immigrated to Israel, she continued her studies and received her art education degree. “At that time, I fell in love with the Impressionists, especially Cezanne, and started painting more landscape and still life,” she said. “I tried to catch the essence, the light and beauty of my surroundings. Even my palette changed.”

The next stage in her artistic development came after she immigrated to Canada in 1975. It was as if every country triggered a twist in her artistic road. “I needed to establish new roots and master new challenges,” she recalled. “In 1980, I went back to school to study printmaking at the University of Alberta. They told me: ‘Paint abstract, throw away realism.’ I followed my teachers’ good advice … and totally immersed myself in abstraction. I simplified my work; my focus became my inner world, my feelings and my emotions. The art-making process became a sacred ritual.”

But pure abstraction didn’t hold her interest for long. Her abstract compositions acquired random elements of realism. “I tried to make my works integrated, bring together abstract and figurative,” she said. “I tried to express the concept of unity between the internal and the external, between the spiritual and the physical.”

Her current show, In Partnership with Nature, which opened at the Zack Gallery on Jan. 31, combines her inclination towards abstraction, her love of nature and her ability to bridge the realistic and the spiritual in her paintings. It also highlights her innate optimism. The show is airy, uplifting and charming, the works prompting a quiet gladness in viewers.

It’s about flowers, but in an oblique, complex way. “I love flowers,” said Schaffer. “Nature is my biggest inspiration. When it surrounds me, I feel alive, free, and in awe of all its beauty and miracles.”

For years, she has been drying flowers between pages of books. “I have piles of those books in my house,” she said. “I always wanted to preserve the flowers’ beauty, even after the original bloom. I have been doing it since I was a young girl…. In autumn, I also dry leaves with their amazing colours and abstract designs. Nothing is more beautiful. Sometimes, I pick a flower just to remind me of a place and time.”

A few years ago, Schaffer decided to try and incorporate those dried flowers and leaves into her art. “I wanted to make them the subject matter,” she said. “Every picture in this show, except one, has one or more dry flowers or leaves in them.”

photo - “Grace into Focus 1” by Sidi Schaffer is part 1 of a triptych — “Grace into Focus 1” by Sidi Schaffer is part 1 of a triptych. *(photo from Sidi Schaffer)*

All of the images in the exhibit are mixed media. She experimented with acrylic and oil paint, with old prints and new drawings, with collage. The dried leaves or flowers form the heart of the compositions.

“I wanted to give them importance,” she explained. “Some of the landscapes in this show look fantastic, because dry leaves play the part of trees. Some abstract collages were like memory boxes for me, with layers. There are dry petals there, and lettering and musical notes.”

Schaffer’s collaboration with the elements of nature tends towards whimsical. Flower petals float on the visual breeze. Mundane dandelions turn into exotic palm trees. Waves of musical notation sparkle with rainbow colours.

“I played with the images,” said the artist. “I didn’t take myself seriously when I prepared this show.”

Schaffer said every image in the exhibit started with an idea. “But I never knew how it would come out,” she said. “It’s a process, a discussion between me and the flowers. Sometimes, it is a struggle. I look at the flowers and they supply more ideas. This one flower I had, I put it on the painting and the petals came off. I left them off, incorporated into the image.… From a flash of excitement to the end result, each image reflects my emotional journey. By the time I finish a painting, it seldom resembles my original starting point. What is important for me is the visual poetry, the relationship of form, space, colour and light.”

Schaffer’s exploration into creative possibilities is nourished by her rich inner life. Before her retirement, she taught art and painted commissions, but never, for example, something made specifically to harmonize with anyone’s living room décor.

“I paint what is inside of me,” she said. “I don’t paint for anyone’s sofa. I enjoy the hours I spend in front of my canvas. It is an intense emotional outlet and, when I’m finished, I feel happy, but, at the same time, drained and vulnerable.”

In Partnership with Nature is at the Zack until March 3.

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

Community show at Zack

“Open Doors” by Marcie Levitt-Cooper. (photo by Daniel Wajsman)

The group show Community Longing and Belonging, which opened Jan. 15 at the Zack Gallery, marks Jewish Disability Awareness and Inclusion Month (JDAIM).

“I heard about community art shows in celebration of JDAIM in other communities,” said Leamore Cohen, inclusion services coordinator at the Jewish Community Centre of Greater Vancouver, who was the driving force behind the local exhibit.

“I thought an unjuried exhibit would be a fabulous way to honour our community-wide commitment to remove barriers, to celebrate our community members’ creative capacities,” she said.

The main idea was to open up participation to everyone – professional artists and amateurs, people of different skill levels, abilities, perspectives, faiths and socioeconomic status.

“To make participation truly inclusive,” said Cohen, “we provided each artist with a 12-by-16 wood panel. We have also been taking direction from Kickstart Disability Arts and Culture and its artistic director, Yuri Arajs, as we wanted to ensure that this event is fully accessible.”

The JDAIM inclusion initiative and month of advocacy began throughout North America in 2009, explained Cohen. The idea for the art exhibit started to take form last spring, when Cohen approached Zack Gallery director Linda Lando.

“Linda was really receptive to the idea of the show.… Once I had the green light from her, the support and use of the gallery,” said Cohen, “I began to focus more on the theme.”

The theme of community and inclusion prompted her next steps. She reached out to many different organizations and communities and invited artists from all over the Lower Mainland to participate. The call for submissions went out in late September, and the response was remarkable. Fifty-two artists are included in the show.

“We have artists from Vancouver, Burnaby, Richmond, North Vancouver, and even as far out as Cloverdale,” said Cohen. “I’ve had the good fortune to meet all these new and amazingly creative people, welcome them to our community centre, and make new friends along the way. It’s been a joy. It broke my heart that I had to turn many away because of the limited space in the gallery. I have artists who want to sign up for the next year. There is so much excitement and so much more to say on this issue.”

photo - “Embrace” by Evelyn Fichmann — “Embrace” by Evelyn Fichmann. *(photo by Daniel Wajsman)*

To frame this exhibit, Cohen posed two questions, which are being used in its promotional materials: “How do we make meaning of the concept of community, the real and the imagined spaces we inhabit? What does community longing look like and what are the possibilities for belonging in an ever-changing world?”

“This show was a challenge and an invitation to look at social problems creatively and critically,” Cohen told the Independent. “It was also an opportunity for artists living with diverse needs to exhibit their work in a professional venue and to receive exposure.

“I don’t think we are going to resolve the problems of longing and belonging, or longing for belonging, any time soon. I think we’ll always have people who are better situated and people whose social networks are more tenuous. We should just keep having the conversations and build up those connections. We create new platforms and new access points, new opportunities for people to engage and tell their stories, whatever they look like and from whatever lens, whether it be through mental health, sexual identity, ability or socioeconomic status. We all have a story to tell.”

Cohen shared one example of how the show’s theme relates to her own life.

“The ‘longing’ part of the theme resonates with a lot of people,” she said. “It resonates with me as well. It emerges from my own story of disconnection from the Jewish community during my youth and young adulthood. Fortunately, so, too, does the ‘belonging’ part of this show. The JCC is a wonderful place, a place for belonging.”

photo - “Veselye u Selu” by Daniel Malenica — “Veselye u Selu” by Daniel Malenica. (photo by Daniel Wajsman)

The theme allowed for a number of different approaches, and the skill of the various participating artists varies widely, but the utter diversity becomes its main attraction. Although the size and shape of the canvases – the wooden boards provided by the organizers – are universal, the content is anything but, and so is the media. Some pieces are oils, others acrylic; still others, mixed media. There are abstracts and figurative compositions. Some have narratives. Others evoke emotions. Some have Jewish connotations. Others don’t. Some artists participated solo, while others enrolled as a family group.

Marcie Levitt-Cooper represents one such family. Her painting “Open Doors” depicts a colony of colourful birdhouses. Every door of every birdhouse is open, creating a welcoming avian village, a festive metaphor that makes you smile. No birds appear in the image, but you can almost hear them sing. The artist’s three daughters – Rebecca Wosk, Teddie Wosk and Margaux Wosk – also exhibit in the show.

Another family of artists is mother Elizabeth Snigurowicz and son Matthew Tom Wing. “They regularly come to the Jewish Community Centre inclusion services Art Hive drop-in program, a low-barrier, free art program,” said Cohen.

Daniel Malenica doesn’t have a family in the show, but her charming, pastel-toned piece is a jubilation of the artist’s Croatian roots and her LGBTQ+ community. Two girls embrace each other in the painting, both wear Slavic costumes. The title, “Veselye u Selu,” is the English phonetic spelling of a phrase in the artist’s mother tongue, meaning “Celebration at the Village.”

In Evelyn Fichmann’s painting “Embrace,” the artist, a recent immigrant from Brazil, has incorporated words in English and Hebrew. “Encourage,” “include,” “educate,” “respect,” “engage” and “support” surround the image, all fitting descriptors of what we should strive to do in our communities.

Community Longing and Belonging runs until Jan 27.

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

Whisper Across Time

Olga Campbell (seated) takes a break from signing books at the opening of her exhibit A Whisper Across Time, which also served as a launch of her book by the same name. (photo by Gordon E. McCaw)

The impacts of the Holocaust continue to reverberate. Even though most of the first-generation survivors have passed away, the next generations, the survivors’ children and grandchildren, remember.

Local artist Olga Campbell belongs to the second generation. Her parents survived the Holocaust, but her mother’s entire family was murdered by the Nazis. The need to give those family members a voice was Campbell’s driving force in writing her new book, A Whisper Across Time: My Family’s Story of the Holocaust Told Through Art and Poetry. Her solo exhibit with the same name, co-presented with the Cherie Smith JCC Jewish Book Festival, opened at the Zack Gallery on Nov. 15. The night also served as a book launch.

“The art in this show are mostly prints from the book,” she said in an interview with the Independent. “There are also some pieces that are offshoots on the same theme, even though they aren’t in the book.”

Campbell has always known that her mother’s family didn’t survive the war, but the emotional impact of their deaths built slowly over the years. It took decades for this book to emerge.

“In 1997,” she said, “I heard a program on the radio about the second-generation survivors. Their words about the trauma being passed between generations resonated with me.”

She embarked on an artistic journey, and she is still following a path of exploration. Her art reflects her emotional upheaval. Her paintings and statues are fragmented, with broken lines and distorted figures, evoking feelings of loss and anguish. One look at her paintings and a disquiet tension washes over the viewer. It is apparent that a huge tragedy inspired her work.

In 2005, Campbell had a show at the Zack, called Whispers Across Time. “Even then,” she said, “I knew I had to write about my family. The art show was not enough. I had to say more, but, at that time, I couldn’t. I was too raw, too emotional. But my family kept tugging at me. I needed to tell their story. I was compelled to write this book.”

Unfortunately, she knew only the bare bones of her mother’s life. So she plunged into a deep and long research period, surfed the internet, contacted Yad Vashem and other sources. After several years, the book crystallized.

“My book is a tribute to my family, the family I never knew,” she said.

“Of course, it is only one family of the millions of families killed during the Holocaust.”

Campbell spoke of the relevance of her book in today’s political climate. “Our world is a chaotic place right now, somewhat reminiscent of the period before the war,” she said. “There are over 68 million people around the world that are refugees or displaced. My book is not only about my family. It is a cautionary tale. It is about intergenerational trauma and its repercussions across time.”

image - artwork by Olga Campbell — *(artwork by Olga Campbell)*

She created new art for the book, wrote poetry to supplement the imagery, and also included an essay on her family members and their lives, destroyed by the war. The paintings in the book and on the gallery walls are powerful but melancholy, even distressing.

“My work always had this darkness, the sadness, but also a bit of hope,” she said. “I never know what will happen when I start a piece. I’m very intuitive. I would throw some paint on an empty canvas and let my emotions and the art itself guide me through the process. I use photos in my works and digital collages. My finished pieces always surprise me.”

When the book was ready, Campbell applied for another show at the Zack, to coincide with the book launch.

“I wanted to give it the same name as the previous show, Whispers Across Time,” she said, “but I checked the internet, and there are a couple other books already published with the same title. I decided to change it.” The book and the show are called A Whisper Across Time. “I feel a lot lighter now, after the book is finished and published,” she said.

A Whisper Across Time is Campbell’s second publication. In 2009, she published Graffiti Alphabet. She has been doing art for more than 30 years, but that is not how she started her professional career. She was a social worker until, in 1986, she took her first art class. That year changed her life.

“It was such fun. I loved it,” she said. “I went back to work afterwards but it didn’t feel as much fun. I decided to get an art education. I enrolled in Emily Carr when I was 44.”

Campbell finished the art program, continued working part-time as a social worker, and dedicated the rest of her time to painting, sculpture and photography.

“I’ve been a member of the Eastside Culture Crawl for 22 years, since its beginning,” she said. “I participated in the Artists in Our Midst for many years, too. At first, when people asked me, I would say I do art. Now, I say, I’m an artist. I must be. That’s what I do. I’m retired now, but I did art when I was working, too, and it was always very healing and rewarding – still is…. If, for some reason, I don’t paint for awhile, I feel as if something is missing.”

The A Whisper Across Time exhibit continues until Dec. 9. For more about her work and books, visit olgacampbell.com.

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

Heart unites artworks

Claudie Azoulai, left, and Nicole Schouela. Their work comprises the exhibit Heart to Heart, which is at the Zack Gallery until Nov. 9. (photo from the artists)

The latest show at the Zack Gallery, Heart to Heart, presents the work of two artists in two vastly different media. Claudie Azoulai makes felt tapestries, while Nicole Schouela specializes in photography. Despite the differences in material representation, however, the colour palettes and the themes are amazingly similar – places close to their heart, places that invoke love and peace. The places and the emotions they inspire consolidate the show into a seamless, cohesive whole.

“We wanted to have a shared show forever,” Azoulai told the Independent. “We’re cousins, Nicole and I. We grew up together.”

They came up with the idea of a joint show about a year ago. “The timing is perfect,” said Azoulai. “It takes me, on average, about a month to create one piece, and there are 13 pieces of mine in this show, all new.”

photo - “Heron” by Claudie Azoulai — “Heron” by Claudie Azoulai.

All of these pieces are related to a children’s book Azoulai has written. “The book will be called The Spring Feast. It’s about the flora and fauna of Hornby Island, one of my favourite places. I will photograph every tapestry here, and they will be the illustrations for the book,” she said.

Azoulai considers herself a part of the great pageantry of life, and Hornby Island provides her with the opportunity to experience it firsthand. One of the tapestries, “Herring Run,” reflects her connection with nature.

“Every spring, herring come to Hornby Island to spawn,” she explained. “Then salmon come to eat the herring. Seals come to eat the salmon. Whales come to eat seals. Eagles fly over to eat the roe. Everything is alive, this great circle of life, and I’m part of it, too. When I come to Hornby Island in spring, I try to stay outside all day.”

Many of the tapestries depict various birds of Hornby Island. “I work from my imagination,” Azoulai said, “but when I need a particular pose or gesture, I go to the beach to watch the birds or look at photographs.”

Azoulai dyes her wool herself, and no batch comes out of the vat exactly the same, even if all the ingredients of the dye match. “Colours of the fleece always surprise me,” she said. “They influence the images. When I’m stuck, I would dye a new batch, and the new colours might affect the image, lead to a change. The colours dictate the picture more often than not.”

She frequently experiments with new materials, incorporating silk or synthetic particles into the base of wool to add a shine or a different texture. “As long as the fleece entangles the other threads, the image stays together,” she said about that technique.

Mixing and matching is also Schouela’s preferred technique, using Photoshop to work with different parts from a multitude of photographs.

“I have nine pieces in this show,” she said. “They are places I revisit often, not by traveling far away, but the places where I live and work. The places I walk. The places I love. The places that have almost a ritualistic meaning for me.… Sometimes, they are physical places. Other times, they are mental places.”

Schouela started her artistic life as a dancer, but dance is an unforgiving art form that takes its toll on the body. She switched first to ceramics, and later dedicated herself to photography. In everything she creates – a dance or a vase or a photo collage – there is movement and transformation. The images flow through each other, striving towards abstraction and emotional truth.

photo - “Perceived Threat” by Nicole Schouela — “Perceived Threat” by Nicole Schouela.

“Photo manipulation is freeing,” she said. “I could take pieces from here and there and create a new image I want, while it still retains the essence of the originals. It might take me several months to finish one picture. I would stop working with it and then, later, I would return to it again and again, until I’m satisfied.”

She photographs places that are part of her and her search for connections and understanding. By now, she has thousands of photos in her digital archives. “Sometimes, I would use a photograph or a fragment of one years after it was taken, because it would fit one particular composition or a feeling I want to explore,” she said. “I don’t want my images to resemble the real places. The original photographs are not important by themselves. They are part of the process. Sometimes, I play with pieces of 30 to 50 photos for one picture. It is fun.”

Schouela’s abstract compositions on the gallery walls lean towards pastel or black and white, with occasional splashes of bright colour. Some are geometrical. Others tell a story or convey an emotion.

“Traditional photography doesn’t interest me anymore – anyone can take a picture now with their phones,” she said. “I don’t want my imagery to be like paintings either. Photography is a separate art form. If I wanted a painting, I would paint. No, I want my collages to keep their photographic elements obvious.”

The exhibit Heart to Heart opened on Oct. 11 and continues until Nov. 9. To learn more about the artists, check out their websites: claudieazoulai.com and nicoleschouela.com.

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