Hope Forstenzer

Culture Crawl starts Nov. 16

Suzy Birstein is one of the many Jewish community artists taking part in this year’s Eastside Culture Crawl Visual Arts, Design & Craft Festival, which runs Nov. 16-19. (photo by Britt Kwasney)

The 27th annual Eastside Culture Crawl Visual Arts, Design & Craft Festival takes place Nov. 16-19 and features almost 450 artists, including many from the Jewish community. Among the community members opening their studios to visitors are Suzy Birstein, Olga Campbell, Hope Forstenzer, penny eisenberg, Robert Friedman, Lori Goldberg, Lynna Goldhar Smith, Ideet Sharon, Stacey Lederman, Shevy Levy, Lauren Morris and Esther Rausenberg.

“We welcome the public to dive back into the Culture Crawl this fall to experience and be inspired by our artists’ growth and discovery. [The pandemic] has been a time of change for many of us and I believe art is a conduit for moving forward together,” says Rausenberg in the event’s press release. Rausenberg is a photo artist, as well as artistic and executive director of the Eastside Arts Society, which puts on the Crawl.

The Independent spoke with a few of the participating Jewish artists about what visitors to their studios can expect to see, and whether creativity is a place of refuge or if it is harder for them to create in times of conflict, including but not limited to the Israel-Hamas war and the war between Ukraine and Russia.

Visitors to Birstein’s studio will see her “figures from fired clay infused with aged and lustred surfaces, which inspire paintings in oil, cold wax and collage.”

The artist is currently working on two series, which will merge into the solo retrospective at Il Museo Gallery, curated by Dr. Angela Clarke for 2025.

“Both series evoke my art/travel adventures to Europe, Mexico and Cambodia,” said Birstein.

“‘Ladies-Not-Waiting’ reference the gazed-upon women by old master painters – Velasquez, Fouquet and Manet – alongside self-portraits painted by masterful female artists, Frida Kahlo, Leonora Carrington and Leonor Fini,” she said, while Tsipora (her Hebrew name, meaning Bird) is a series of loose self-portraits, which “embrace an exotic earthiness living within my poetic imagination.”

Both bodies of work, she said, “speak to nesting and transcendence, the mirror and reflection and celebrate the individual and universal.”

For Birstein, in times of conflict, “be it COVID, warfare, personal challenges – the only thing that centres me, coming directly from within me, is the creative refuge of my studio and making art. As I say this, I must stress that the love and compassion I feel for and receive from my family, friends, students and peers is the other half of that equation. I can’t imagine one without the other and I am extremely grateful.”

Friedman describes himself as “a muralist-styled stained glass artist.” He has worked in stained glass for more than 40 years and has recently added a blown glass dimension to his work, according to his website, which is also a recent addition.

“My studio is a great place and haven for creative thought and output,” he told the Independent. “[T]hese troubled times just [add] more impetus for me to have it reflected even more so in my artwork.”

Goldberg also finds herself more driven.

“My work is about vitality, life, vibration forging connections and bringing two opposing energies together as a way to find potential for resolution,” she said. “I have a responsibility as an artist to respond. I am more motivated. Expressing ‘Heaven on Earth’ is one way I respond to pain and suffering.”

Goldberg had a three-month residency on the North Shore, which she spent painting the forest – work that studio visitors will see.

“I was recently reading the book Speak for the Trees by Diana Beresford-Kroger about how the roots of the trees, the mycelium and plants and trees talk to each other,” said Goldberg. “By painting in the forest, I learnt how to listen, experience the tranquility, vitality and interconnectedness of the forest and to myself.”

Since the spring, Goldhar Smith has been “creating minimal colour-field style landscapes based on the idea of the shape of light and the colour of shadows,” she said. “The paintings are rendered in soft blues and pastels or deeper mysterious tones and suggest memories of places real and imagined.”

She acknowledged, “The conflict in Israel has, of course, been enormously upsetting and I find myself in despair for both sides of the conflict. My paintings do not yet reflect these emotions, but they will in coming months. I don’t yet know what I will be painting but I will be exploring more difficult terrain.”

For Forstenzer – a glass artist and director of the Sidney and Gertrude Zack Gallery – creativity can be a place of refuge, but also more challenging in times of conflict.

“Making work when I’m feeling the stress of all that’s going on personally and globally is truly healing,” she explained, “but when I’m feeling overrun with those things, it can be a lot harder to fully concentrate at times.”

Lately, Forstenzer has been making glass clocks, something she describes as “incredibly fun.”

“I can experiment with colour and pattern in the glass, and I’ve learned a lot about clockwork mechanisms, which is also an exciting thing to dive into – I’ve been down many rabbit holes online about clockmakers,” she said. “I’ll have a bunch of clocks on display and for sale at the Crawl.

“I also have spent a lot of the last year generally playing with colour and pattern,” she added. “I’ve made vessels – vases, bowls, cups – that experiment with a particular colour or look or pattern or stripe in glass. Once I have a colour process in place, I often go on to use those colours, patterns and processes in sculptural pieces. Since I’ve done so much experimenting this year, there will be a lot of pieces on display and for sale at the Crawl as well.”

In addition to opening their studios, Forstenzer and Birstein are part of the Crawl’s juried exhibition, which has the theme “Out of Control.”

“At a time when we start to celebrate our freedom from pandemic restrictions, it’s an opportunity to reclaim experiences that were denied for so long, a chance to think outside of the box and just let go,” says Rausenberg in the press release.

The exhibition features the work of 80-plus Eastside artists and takes place at multiple venues: Alternative Creations Gallery and Strange Fellows Gallery (both until Nov. 19), the Pendulum Gallery (until Nov. 24) and the Cultch (until Nov. 25).

For more information, visit culturecrawl.ca.

A land of contradictions

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

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

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

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

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

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

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

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

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

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

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

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

Immigration to a new country profoundly impacts her imagery.

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

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

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

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

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

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

Our relationship to objects

In DANCE:CRAFT, dancers Heather Dotto and Joey Matt interact with and reinterpret five elements – glass, metal, wood, fibre and ceramics – created by B.C. crafts artists. (photo by Michael Slobodian)

After years of development, DANCE:CRAFT will see its world première May 20-22, 7 p.m., at the SFU Goldcorp Centre for the Arts, Fei and Milton Wong Experimental Theatre. Among the craftspeople who contributed their creativity to the show is Hope Forstenzer, a glassworks artist, who also happens to be the director of the Gertrude and Sidney Zack Gallery.

“I was asked to be part of the project in October of 2016 and, at the time, the thinking was that it would take about two years to develop,” Forstenzer told the Independent. “It wound up taking longer than that for lots of reasons – I think one of the primary dancers went on maternity leave and, then, right as the project was about to begin rehearsals, COVID shut everything down.

“Initially, Joe [Laughlin] and I had all kinds of discussions and brainstorming sessions about ways to incorporate pieces into the dance. We rethought quite a bit of it when we started up again, and we wound up with some very interesting stuff that was quite different in some ways than we originally imagined. I think it’s going to be quite a bit different than any of us originally thought – the world isn’t what it was in October 2016.”

DANCE:CRAFT is described as “an exploration of two dancers interacting with numerous craft objects in a reconfigured theatre setting. It’s craft seen through the lens of dance and remixed, a look at our relationship to objects, creating and interacting with them.”

Presented by Joe Ink – which is led by Laughlin – and SFU Woodward’s Cultural Programs, DANCE:CRAFT also features five virtual reality films that give viewers a look into the artists’ studios.

“I’ve made six large blown glass rock-like pieces with lights inside of them, a large acrylic box full of glass balls, and 12 hanging cylinders in various sizes,” said Forstenzer.

photo - Hope Forstenzer has created 12 hanging cylinders for the performance — Hope Forstenzer has created 12 hanging cylinders for the performance. *(photo by Hope Forstenzer)*

The whole creative endeavour began as a research project focusing on dance and art. Laughlin conceived of the concept and the dancers are Heather Dotto and Joey Matt. They worked with five B.C. artists, facilitated by the Craft Council of British Columbia, curators of the show. In addition to Forstenzer, Stefanie Dueck (metal), Patrick Christie (wood), Deborah Dumka (fibre) and Debra E. Sloan (ceramics) provide the five elements that the dancers and Laughlin reinterpret.

“I have been thinking about the earth, the environment, the elements, evolution, geography, migration and humans,” says Laughlin in the press release. “The tactile sensation of handmade objects juxtaposed with the ephemeral quality of the dancing body triggers a memory experience. Being immersed in an environment and watching the body respond to texture and colour is what anchors us in time and space. We are looking for connections between communities and the natural world, geography and the human family.”

Laughlin added, “The process for creating a dancer incorporates fibre, sinew, muscle, bone, water, pressure, agitation and repetition. Craft is a transformative process that incorporates stone, fibre, wood, metal, water, pressure, agitation and repetition.”

DANCE:CRAFT asks audiences to consider, “How do objects further extend the language of the body and its narrative possibilities?”

photo - Glassworks artist Hope Forstenzer — Glassworks artist Hope Forstenzer *(photo from Hope Forstenzer)*

“I come from a theatre background and have done a great deal of work with dancers and actors,” said Forstenzer in contemplating this question. “Objects – props, costumes, sets, and all things like them – become part of a performance completely. A knife becomes part of an arm, to use for harmless or harmful purposes; a table becomes a second stage if someone stands on it; a mask hides a face. The best performances use performers, environments and objects to tell a story fully. I think what we’ll see with DANCE:CRAFT is a full storytelling collaboration, in which the artists have given works to Joe, and he has created a story to tell with them.

“This has been a fun project to work on,” she continued. “It’s not that often you get to do a collaboration like this. I’m really excited to be part of it.”

Tickets for the performance are $30 ($25 for students and seniors) and they can be purchased at eventbrite.ca.

Gallery’s new guides

New docent program at the Zack gets underway. (photo from Zack Gallery)

Sidney and Gertrude Zack Gallery director Hope Forstenzer recently instituted a new docent program, to train guides for the art gallery.

“I came up with the idea of creating a group of volunteer docents for the gallery right after I got here, which means right before the pandemic,” Forstenzer told the Independent.

Unfortunately, the pandemic made it impossible to implement the idea at that time, and the initiative only became reality in the past few months.

“My job as the gallery director is only half-time,” Forstenzer said. “Even when I’m working, I’m frequently in meetings or visiting studios or doing other work that takes me away from engaging the people in the gallery. I created the docent program to make sure the gallery was staffed with friendly and available faces, with people who knew about the shows, could make sales, and could answer questions.”

Initially, about a dozen people responded to her invitation to become volunteer docents at the Zack. “Some dropped out for various reasons as we were getting underway,” she said. “Others have come along since.

Currently, we have six docents on our active roster.”

Before the docents could perform their assigned duties, they needed a certain amount of training on the gallery rules and procedures.

“The docents each attended two training sessions, both lasting about an hour,” said Forstenzer. “Sometimes, we’d do the whole training in one session, but it varied. The second training shift was usually about our sales system, which isn’t difficult, but isn’t something most of the docents have seen or used before. In the first training session, I explained what their responsibilities were, we discussed scheduling, and I’d either show them how to use our sales system or invite them back to learn it on a different day…. Then they did a shift with me in the gallery as backup. Then they were ready to go.”

The first docent started at the Zack last October. “Some of them have taken breaks due to the Omicron,” said Forstenzer, “but others have stayed throughout.”

She has lots of plans for her volunteer docents. “The primary purpose of having the docents in the gallery right now is to have a knowledgeable and friendly presence that welcomes visitors,” she said. “They can also make sales. As the restrictions due to COVID lift (hopefully), the docents will also help me run events in the gallery, both for kids and for adult groups. Eventually, I hope they’ll be able to run some of these events themselves. We might even schedule some docent-led viewings of shows.”

At the moment, most docents do one shift a week, each shift three or four hours long, but Forstenzer is flexible about that. “Some do two shifts a week. Some split their shifts and go for a swim or a workout in the middle and then come back. It is up to them, and I create a schedule based on their availability and the gallery’s needs.”

She added that all the docents take their volunteering seriously. “If someone can’t make their shift, they let me know,” she said. “If I can cover it, I will. If not, the gallery won’t have a docent that day.”

The docents vary widely in age and experience. Some are students. Others are retirees or people participating in various community centre programs. Gail Bloom shared with the Independent a bit about herself and why she became a docent at the gallery.

Bloom worked as a city planner in San Francisco. “I studied city planning in college and then worked as a practising planner,” she said. “I love cities and was interested in public utilities. My chief role for over a dozen years was sorting out public financing of major infrastructure projects in San Francisco. It was very satisfying to see the fruition of that work across the city.”

She retired about 20 years ago. “My home is still in the Bay Area. I live there with my husband, and my son’s family also live nearby, but, last fall, I came to Vancouver for an extended winter visit with my daughter – she lives here and teaches at Emily Carr.”

Bloom, who turns 70 this month, has been volunteering in many fields since her retirement. “I lead the Board of Children’s Book Project and presently serve on a regional public health agency at the Marin/Sonoma Mosquito and Vector Control District,” she said. “I have also enjoyed working on state, local and federal election campaigns, mentoring youths, and helping with the major fundraising event for the Oakland Museum of California.”

She has always been interested in art. “I love cities, as I said, and the museums are a big part of that – especially art museums. In the last couple months, I visited the Vancouver Art Gallery and a small community gallery at the Deep Cove Cultural Centre. There is a show at the VAG now that I’d recommend – Emily Carr and Edith Heath. Heath was a local San Francisco ceramic artist; she started her iconic tile and pottery company out of her little apartment in San Francisco in the ’40s.”

Of course, when she visited the Jewish Community Centre of Greater Vancouver for the first time, the Zack Gallery attracted her. “As I’m interested in the arts personally and enjoy art museums, their new docent program seemed like a good fit,” she said. “And my family were thrilled that I found the gallery and something meaningful to do with my time. Now, I’m at the gallery every week. My docent days are Mondays.”

Besides volunteering, Bloom takes advantage of several other programs the JCC offers. “The aquatics program is pretty great,” she said. “I also attended several sessions of the book fair last month, and I just started watching VJFF [Vancouver Jewish Film Festival]. I’m fortunate to have time to participate in them all.”

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

Art show with a holiday feel

Ande Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. (photo from Zack Gallery)

The current show at the Zack Gallery, Affordable, opened on Nov. 17. It delivers on its name’s promise. Every item on display is less than $250 and thus in the realm of affordability for many people, not just art connoisseurs.

“That’s what I wanted for the Zack Gallery from the beginning,” said gallery director Hope Forstenzer. “I wanted to deepen the involvement of the JCC community in the gallery, wanted the art within people’s reach.”

Accordingly, this show looks more like a holiday craft fair than a high art exhibition.

“I don’t believe in the separation of art versus craft,” said Forstenzer. “For me, craft is another word for art, but art that is functional and affordable, designed for enhancing your life and your home rather than a wall of a museum. I hope we can make such a show an annual event.”

To achieve the artisan market feel, Forstenzer invited 10 artists in different media to participate. “They are all local B.C. artists,” she said. “Some Jewish, some not. I wanted to cater to different tastes, to represent different artistic fields. I wanted the show to be fun.”

photo - Ceramics by Hitomi McKenzie — Ceramics by Hitomi McKenzie.

The atmosphere of the show is jazzy and welcoming. The giclée prints of well-known Vancouver artist Linda Frimer glow with greens and blues. The glass and jewelry twinkle. The ceramics by Hitomi McKenzie stand proud and bright. Mariana Frochtengarten’s colourful shawls in Shibori patterns add a touch of elegance.

Frochtengarten teaches textile art at the Jewish Community Centre of Greater Vancouver. “This is a great opportunity for me to show the community my personal work,” she said. “My work is based on the principles of Shibori – a Japanese manual tie-dye technique. I combine the ancient Japanese tradition with a contemporary approach.”

She works with natural fibres, mostly cotton and linen, and has been working as a textile artist for more than 25 years. “My way into textile art was a bit accidental,” she told the Independent. “I was born in Brazil. When I was in high school, I took a batik class for a hobby, but I fell in love with it.”

After graduating from high school, she studied at Fine Arts and Education University in Brazil and later completed her master’s in fine arts (textiles) at Nova Scotia College of Art and Design, in Halifax. “For 17 years, I worked with batik,” she said. “I had a business in Brazil and sold my works in stores, galleries, shows and fairs. I also experimented with some Shibori. I slowly moved on to my own form and interpretation of Japanese Shibori after moving to Canada in 2006. I love the elements of surprise involved in the process of Shibori and I am fascinated by the idea of creating different designs by blocking areas of the fabric before dyeing it.”

Another artist who works with an unusual material and technique is Ande Axelrod. Her company, Treats Designs, produces whimsical and sophisticated tagua jewelry: necklaces, earrings, pendants, and bracelets. Axelrod is very enthusiastic about her artistic creations. “Tagua is known as ‘vegetable ivory,’” she explained. “The tagua palms are native to the rainforests of Ecuador and other South American countries. The nuts grow and harden inside their seedpods. Some tagua nuts can grow up to six centimetres. Once the seedpods are ripe, they’re picked, and the seeds are dried in the sun, peeled and polished.”

The creamy white substance of the nuts is incredibly hard, similar to elephant ivory, hence the name. According to Wikipedia, a mature tagua palm can produce up to 20 pounds of vegetable ivory a year.

“Tagua nuts have been used as a substitute for ivory since the early 20th century,” Axelrod said. “The local masters carve the nuts into a variety of beads and buttons and dye them using bright natural colours.”

photo - Mariana Frochtengarten shows of one of her colourful Shibori shawls — Mariana Frochtengarten shows of one of her colourful Shibori shawls.

She is thrilled to use tagua nuts as the base for her jewelry. “I worked as a graphic designer for more than 25 years. In 2011, a friend and I took some jewelry making classes and I explored a variety of media and techniques. The next year, I discovered tagua while traveling in South America. I was dazzled by the colours, and I loved how light and comfortable the pieces were. You could wear a bigger statement necklace or a pair of earrings and not have a sore neck or headache at the end of the day.”

The sustainability and eco-friendliness of tagua sealed the deal for her. “I wanted to save elephants and I was truly inspired by the vast creative potential of this versatile natural material. It also provides an economic incentive for the local communities to protect the rainforests,” she said.

Since then, Axelrod has developed a partnership with artisans in the village of Sosote, Ecuador, as her source for tagua beads. “Before COVID, I’d made annual visits to Ecuador each February. It gave me the opportunity to work with tagua throughout the process, from seed to bead. Of course, like everyone else, I’ve had to improvise these past two years. Zoom, WhatsApp, FedEx and Western Union have enabled me to stay in touch with my South American partners and get tagua here for me to create my jewelry.”

While Shibori scarves and tagua jewelry may more easily be thought of as unique artwork in the Vancouver context than photography perhaps, Michael Shevloff proves that he is an unquestionable master of the camera, producing his own singular creations. His images, both in colour and in black and white, are statements of his love for British Columbia: its forests, its mountains, its waterways, its streets.

“I do predominantly nature photography,” he said. “However, I also shoot street photography, portraits, and many other genres, both digital and film.”

For this show, Shevloff offers framed and matted photos and photo coasters. “In the past, I also produced books of my photos, collages, cushions and more. I even put one of my images on my phone cover. The choices are many, and there are online firms, as well as local places, that specialize in putting images on almost any surface.”

He has been taking photographs since he was a teenager. “That was a long time ago,” he joked. “I have albums filled with photographs from places I have worked and traveled throughout the years.”

For Shevloff, photography has always been a hobby, while he worked in information technology. It remains a hobby in his retirement, although he obviously has more time now to immerse in his artistic endeavours.

photo - “Tropical Vancouver,” by Michael Shevloff — “Tropical Vancouver,” by Michael Shevloff.

“I have taken classes with professional photographers to hone my craft. And I belong to two photo clubs in Vancouver,” he said. “Vancouver PhotoClub is a well-organized group with monthly meetings and outings. I enjoy being a part of that club because they have assignments, which gives me a challenge and focus each month. They also organize exhibits, which gives me an opportunity to show my work.”

He belongs to the West End Photographic Society, as well. “That one is dedicated to film work and darkroom processing,” he explained. “They also organize exhibits. I enjoy the challenge of working with film and working with prints.”

The 10 artists of this show incorporate different art forms, different artistic philosophies, different ethnic roots and different price ranges. But one fact unites them all – every piece of art in the gallery for the next month is affordable.

The exhibit continues until Dec. 31.

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

Chai Quilt grows and changes

When I first entered the Zack Gallery to view its new show, the Chai Quilt, my first impression was that it was an amateur show. Only one wall of the gallery featured art, and it looked like the work of a kindergarten class, with several exceptions. I soon found out that that is indeed what it is!

In talking to gallery director Hope Forstenzer, I learned that this exhibit is different from most of the shows the gallery has produced. Many of the amateur artists are actually 3 to 5 years old and attend the JCC’s preschool.

“We sent out a call for participation in this show to everyone on the mailing lists of the JCC and the gallery,” said Forstenzer. “I wanted this show to connect the gallery to the community, to make it a mixed show. Whenever someone expressed an interest, we gave them the fabric squares and the craft kits. Some families received four or five squares for every family member. Our preschool at the centre had several, too. A few professional artists also responded to the call, as did some of the JCC staff.”

photo - A portion of the Chai Quilt at Zack Gallery — A portion of the Chai Quilt at Zack Gallery *(photo by Hope Forstenzer)*

The show takes place in conjunction with the JCC’s Festival of Israeli Culture and, therefore, shares the festival’s theme, which is celebrating life – chai, in Hebrew.

“We asked everyone to create their own celebration of life and spring,” explained Forstenzer. “No matter how hard the pandemic hit us all, there is still life worth celebrating.”

When the squares came back from the artists, Forstenzer created a quilt of them on one long wall of the gallery, a continuous artistic surface reflecting community members’ united vision of life. “The squares touch sides,” she said. “Even if we can’t meet because of the pandemic, we’re still in this together. Our art brings us together.”

The show’s unique blend of professional and amateur artists means there are several profound differences from previous Zack shows. One of those differences is that there are no name cards. If a participant signed their square, everyone can see their name; if not, the square’s creator is anonymous.

Another difference is that the show started a week later than planned.

“Many of the participants are families with children,” said Forstenzer. “They kept calling me and asking for more time. Even now, when the show is open, the squares are still trickling in. There are already over 70 on the wall. I had three new ones today, waiting on my desk, and more are coming, I’m sure. I’m going to add them on to the end of the quilt as they come.”

photo - Another part of the Chai Quilt at Zack Gallery — Another part of the Chai Quilt at Zack Gallery *(photo by Hope Forstenzer)*

The show, or rather the quilt, grows daily; resembling a living organism. And, it also changes. As I was speaking to Forstenzer, one of the participants, Jessica Gutteridge, artistic director of the Rothstein Theatre, came into the gallery. She wanted to rotate her square, which was already on the gallery wall. “It would look better the other way,” she offered, and Forstenzer agreed.

“I was excited to have an opportunity to participate in this community art project,” Gutteridge said. “Although my professional artistic practice is in the theatre, I have been involved as a hobbyist and student in visual arts and crafts, particularly needlework, for most of my life. During the early part of the pandemic, Hope and I created a virtual drop-in community art program called the Creative Kibbitz. It was based on a project I had started – to invite people to my home to socialize and make creative work. This show was a nice way to extend that work, and a theme based on celebrating life and renewal seemed very appropriate and inspiring in this moment.”

Although Gutteridge has never participated in a Zack show before, her pink square with its jolly cherry blossoms looks like it belongs on the gallery’s wall. “Cherry blossom time is one of my favourite moments of the year,” she said. “It is so ethereally beautiful for the short time it lasts. To me, it captures the rebirth of spring perfectly and the stirring of new life. I decided to make a spray of cherry blossoms using two of my favourite media, yarn and rhinestones, in an effort to make something that captures the shimmer and sparkle of spring.”

In addition to needlework, the quilt pieces have been made using an astounding variety of media. Photo collages and paintings. Feathers and beads and felt flowers. Dried leaves and confetti paper ribbons. Letters and abstract glitter splashes. Buttons and lace.

The creator of one square, which has dancers in lacy costumes, is Beryl Israel, a retired teacher. “I am a member of the fantastic JCC Circle of Friends program,” she said in an email interview. “Up to the start of COVID, I taught tap dancing at one of the local community centres.” Her love of dancing poured into her contribution to this show.

“My motivation for this work was to concentrate on the happiness and positivity around us in a gentle, hopeful way, with the inspiration from the dancing figures of Matisse,” she explained. “I wanted to record some of my old dress fabrics, laces from my mother, favourite photos, handmade paper, flowers, etc., plus the use of acrylic paints and stitching, which resulted in my composition.”

The imagination all the artists infused into their squares seems to know no bounds, as if they wanted to say, the ways in which we each see life is different, but, together, we can create a life as diverse and colourful as the Chai Quilt on the wall of the Zack Gallery.

The quilt is on exhibit until May 14.

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

Jewish Poland in 1932

This photo, called “Generations,” was taken by Tim Gidal in Tel Aviv in 1935. (courtesy Zack Gallery)

The current show at the Sidney and Gertrude Zack Gallery, Invisible Curtain: The 1932 Polish Photographs of Nachum Tim Gidal, was organized in partnership with the Cherie Smith JCC Jewish Book Festival, which runs Feb. 20-25. Gidal (better known as Tim Gidal or Tim N. Gidal) was a renown photojournalist of the last century and the exhibit’s images come from the new book Memories of Jewish Poland: The 1932 Photographs of Nachum Tim Gidal. (For a review, click here.)

The driving force behind the book’s publication was Yosef Wosk, who wrote its preface. Wosk approached Zack Gallery director Hope Forstenzer and Jewish Book Festival director Dana Camil Hewitt about a year ago, Forstenzer told the Independent. “He suggested we have a Tim Gidal show at the gallery to coincide with the festival and his newly published book,” she said.

Both Wosk and Forstenzer curated the exhibit. “Together, we chose about 50 images for the show, as many as the gallery could fit. It couldn’t include all the images in the book, of course,” said Forstenzer.

photo - A self-portrait by photographer Tim Gidal, taken in 1974 — A self-portrait by photographer Tim Gidal, taken in 1974. *(courtesy Zack Gallery)*

The history of the photographs is best described by the photographer himself in the book’s introduction. In 1932, Gidal, then 23, traveled with two friends to Poland from his hometown of Munich, Germany. It was his first trip abroad. “My knowledge of the political, economic and social conditions of the Jews in Poland didn’t seem to square with my feelings about their spiritual life,” he wrote. “So I decided to go and see for myself.”

Gidal, who passed away in 1996, took numerous photographs of people and places, as he went from shtetl to shtetl on his three-week “little odyssey.” He wrote: “I encountered spiritual and material heights and depths: material well-being and abject poverty, rejuvenation and dissolution. Some were rich, but many more were very poor. It was a hopeless poverty, endured with an incredible humility. I met men of faith and hypocrites … atheists, socialists and communists, Zionists and Bundists, Orthodox and assimilationists. We also experienced the all-pervading Jewish humor.”

photo - Tim Gidal’s cousin Gershon in the doorway of the family’s rope shop, in Lowicz, Poland. The photo was taken by Gidal in 1932 — Tim Gidal’s cousin Gershon in the doorway of the family’s rope shop, in Lowicz, Poland. The photo was taken by Gidal in 1932. *(courtesy Zack Gallery)*

Everything the young photographer experienced was reflected in his images, including those now on display at the Zack. We see children laughing and women looking far older than their real years. We see ancient eyes and tired, worn hands. We see educated men reading in front of a synagogue, and broken windows and peeling walls the next street over. And we know something Gidal didn’t know at the time, which makes this book and the show all the more poignant: not many years later, most of these people would be murdered in the Holocaust, and they and their entire way of life would be lost. But, in Gidal’s photos, his subjects remain alive. According to Wosk, “Each photograph is a monument, a letter in light.”

Gidal’s 1932 Polish photo essay comprises only a small portion of the master’s body of work. His photography journey spanned almost seven decades and encompassed most major players and momentous events of the 20th century.

One of the pioneers in the field of modern photography, Gidal made his debut in 1929 with his first published photo report. He was a proponent of the style of the “picture story” and he captured most of his subjects unaware, instead of staging elaborate scenes. Very few of his subjects posed for his photos, and every image tells a story.

Four years after his trip to Poland, Gidal moved to Palestine. During the Second World War, he served as a staff reporter for a British army magazine. A wanderer and a chronicler of life, he traveled a lot and lived in the United States for awhile. He taught and illustrated books. He exhibited widely.

photo - Tim Gidal took this photograph of Buchenwald survivors arriving in Palestine in 1945. It is one of the images featured in the exhibit Invisible Curtain, on display until Feb. 25 — Tim Gidal took this photograph of Buchenwald survivors arriving in Palestine in 1945. It is one of the images featured in the exhibit Invisible Curtain, on display until Feb. 25. *(courtesy Zack Gallery)*

A portion of the Zack exhibition is dedicated to Gidal’s artistic photography after 1932. The pictures demonstrate his technical progress, as well as his breadth of interests and subjects. There is a lyrical photo, “Generations,” taken in Tel Aviv in 1935 and another – a dramatic portrait of the youngest survivors of Buchenwald, taken in 1945 upon their arrival in Palestine. There is a photo of Mahatma Gandhi at the All-India Congress in Bombay in 1940 and the fascinating picture called “Handshake,” taken in Florence in 1934, which shows two men shaking hands in front of a wall covered with multiple posters of Mussolini.

Half a century before Photoshop was invented, Gidal experimented with his images, compiling them in different combinations and creating something unique, like his triptych of Winston Churchill of 1948 or the Rhomboid photomontage of 1975.

As a photo reporter, Gidal used his camera to record the 20th century in all its glorious and painful contradictions, and his early 1932 Polish photographs serve as a symbol of his multifaceted canon.

Invisible Curtain opened on Jan. 5 and the exhibit will continue until Feb. 25. To see the show’s digital equivalent, visit online.flippingbook.com/view/891736. To book an appointment to see it at the gallery, email Forstenzer at [email protected]. To attend the virtual book launch on Feb. 11, 7 p.m., and to see the full book festival lineup, visit jccgv.com/jewish-book-festival.

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

Painting survivors, life

A portrait of Robbie Waisman, by artist Carol Wylie. Part of the exhibit They Didn’t Know We Were Seeds, at the Zack Gallery to Jan. 4.

Even via a wobbly Zoom-led tour, the impact of Saskatoon artist Carol Wylie’s portraits – nine of Holocaust suvivors and nine of residential school survivors – can be felt.

The title of the solo exhibit at the Zack Gallery until Jan. 4 is They Didn’t Know We Were Seeds. It is taken from the proverb: “They buried us … they didn’t know we were seeds.” And the choice of 18 portraits was deliberate.

“It was quite quick and early in the process I decided that 18 had to be the number,” said Wylie at the exhibit’s virtual opening Nov. 19, “because there’s so much darkness in the stories but there’s so much light and life in the survival… [T]here’s three of the Holocaust survivors who are involved with the March of the Living and to actually go back to the camps, to Auschwitz, and to make that walk when you were there; I can’t imagine the courage it takes. And they do it so that others are educated. That’s the rising above it and making something really powerful out of a black, dark experience.

“And I see the same thing with residential school survivors, like Gilbert [Kewistep] and like Eugene [Arcand], who spend so much of their time going around to schools and speaking in public about their experiences to make sure people are educated about that. And, again, reliving what they went through every time they tell it, I’m sure.

“So, the 18 and the connection to chai, to life, came really early in the process. It had to be 18, because that validation of life that these people represent … had to be present.”

The scale of the paintings was also chosen purposefully. “I want these portraits to take up space and to be very present and, for when you’re standing in front of them, to have them fill up your field of vision, so that you can’t wander past, uninterested and unengaged,” said Wylie.

The project started several years ago, she explained. “I saw Nate Leipciger speak at the Holocaust memorial service in Saskatoon and, it’s ridiculous, I’ve been [attending] for lots of years but, for some reason, that year, it hit me for the first time how elderly all these people are getting.”

The firsthand experience that is so powerful is soon to be lost, she said, and “I felt there was something that I had to do to help to preserve that.” And she would do it with the best tool she had, her passion and ability to create portraits.

“What I have learned over the years,” she said, “is that, when you capture the nuances of a person’s face, you really reflect who they are and much of their history and how they’re made up of that history. Even though it’s not like hearing a verbal story, it’s seeing a story in a different form.

“I started this idea to do a series of portraits of Holocaust survivors. And then, as I entered into it, little things started to pop up that were connecting the Jewish survival to the residential school experience. It started with a community seder at our local synagogue, where our rabbi, who is very forward-thinking, always has elements on the tables that recognize other groups … and, that particular year, he had made special mention of making sure that we understand – especially in Saskatchewan, where we have a really dark history of residential schools – the experience of the Indigenous people that we live with.

“And I started thinking, it’s not a parallel experience, but it’s an experience that is shared in terms of pain and suffering and then survival and rising above it…. And, because I live in Saskatchewan, this is part of the history of the land that I call home, that I’m a settler in, that this is a time of truth and reconciliation, it’s a time of trying to address these issues, so, as a personal step towards reconciliation, I can sit down, listen to the stories of some of these residential school survivors and bear witness to them and bring them in to be part of this project, so that they can converse through their portraits, as a group of survivors.”

It was only after making this decision that Wylie discovered that people like Vancouver’s Robbie Waisman – who is among those featured in the exhibit – were already meeting with residential school survivors to share ideas and experiences.

The project took about three-and-a-half years to complete. Waisman is the only Vancouver-based subject. “All the other Holocaust survivors were from Toronto, Edmonton and Saskatoon, and all the residential school survivors are from Saskatchewan,” said Wylie in an email interview with the Independent.

“I had to be really careful,” she noted at the exhibit opening. “There’s a very, very fraught history of non-Indigenous artists and non-Indigenous photographers representing Indigenous peoples and I knew I was stepping into this murky ground. All the way along, I had to keep asking myself questions about my own integrity around this, what are the reasons for why you’re doing this and does every single survivor that you talk to understand fully what this project is about and [are they] fully on board with it. At the end, I thought, if there are people who are criticizing it, that’s fine, but, I feel, after conversations I’ve had with many residential school survivors, that it’s more important that we raise this issue and more important that I make this step towards reconciliation than be fearful of doing something that maybe I shouldn’t be doing or that the art world might perceive that I shouldn’t be doing.”

When the work was completed, Arcand and Kewistep “smudged the work before it went off on its first exhibition. Then they gave me a smudge kit that I could use myself, if I wanted to, in the future. It was extremely meaningful to me; it was almost like they’d given it their stamp of approval, as well as imbuing it with these good graces and these good thoughts and this positive energy before the work went anywhere and anyone had a chance to see it.”

The exhibit has been shown in various places and will travel elsewhere after its time at the Zack.

Wylie’s general process in doing portraits is to speak with her subjects first.

“I think that, in order for the mask that we all wear in the world to protect ourselves, in order for that to drop, there needs to be time spent talking,” she said. “There’s this very strange artificial intimacy that happens when you’re sitting two feet – before COVID times – away from somebody that you’re drawing, and you’re talking and you’re looking intently at them…. So, I always wait until that couple of hours of conversation and visiting is over and then I pull out my camera.

“I need to work from photographs because I like to get a strong resemblance and I can’t have people coming back endlessly to sit for me…. But that’s when I take them, is after that time has been spent, that conversation has happened, and their mask has come down and they are open.”

The openness that is seen in the subject’s faces, stressed Wylie, “is not something that I put there, it’s something that they had. Seriously, I paint what I see… And that captures what they have, what they are, because it’s all within there, it’s all in their face.”

Given the caveat that there is something intangible about what makes a good portrait, Wylie said in an email, “I believe a portrait should bear resemblance to the subject. But, in addition, it should feel like the portrait is inhabited; like it contains the spirit of an individual. You often hear people comment about the eyes in a portrait following them. I think that’s the sensation of some element of the person, and not just their resemblance, being present. I also like to see evidence of the artist in the work in the form of brushstroke, colour choices, etc. This trace of the artist distinguishes a painted portrait from a photo.”

She described her need to create portraits as “a compulsion I’ve had since I was a child. Even then,” she said, “I drew people, made my own paper dolls. In my grad school investigations I discovered, I believe, that it’s because of a fascination I have with the mystery of consciousness, and the fact that we can never share another’s consciousness. We learn about ourselves through our interactions with others and these connections enrich our being.

“The face is a major part of how we communicate and is strongly connected to our identity,” she said. “Yet, we cannot see ourselves the way others see us, so there’s this mystery around faces. What do they hide? What do they reveal? How do you feel as ‘you’ wearing your face? How do I communicate as ‘me’ wearing my face? I am just never tired of painting a portrait, but am always excited when I begin a new one.”

The exhibit opening was hosted by gallery director Hope Forstenzer, who credited her predecessor, Linda Lando, for bringing this show in. The exhibit is open by appointment and via onlyatthej.com. A commemorative book, being prepared with Wylie’s help, is in the works, as well, said Forstenzer.

On Dec. 9, 6-8 p.m., the gallery is having a Zoom event with Waisman and Wylie, as well as Lise Kirchner from the Vancouver Holocaust Education Centre and Shelley Joseph from Reconciliation Canada. Readers interested in attending should email Forstenzer at [email protected].

Zack Gallery reopens

“Resistance” by Dorothy Doherty. Part of the Beyond the Surface exhibition now on at the Zack Gallery until Sept. 8. (photo from gallery)

The Jewish Community Centre of Greater Vancouver has opened its doors again, at least partially, and the Sidney and Gertrude Zack Gallery is presenting a new exhibition, Beyond the Surface. Art lovers can make appointments to tour the show in person. It features five local artists – Janice Beaudoin, Olga Campbell, Dorothy Doherty, Jane McDougall and Ellen Pelto – and the Jewish Independent interviewed them recently by email about their art, and how the pandemic has affected them.

photo - Olga Campbell — Olga Campbell *(photo from the artist)*

“This exhibit was originally scheduled for June 4,” said Campbell. “Because of COVID, it was a bit late. It was hung on June 18, and the virtual opening through Zoom was on July 8.”

Last year, the five artists attended a five-day workshop in Victoria led by California artist Michael Shemchuk, though some of them had met before then.

“Dorothy and I have been friends for 45 years,” said Pelto. “I met her in a clay class she was instructing. I’ve also known Olga for eight years.”

“I met Olga Campbell in various art workshops in Vancouver and then spent five years on campus with her at Capilano College between 2008 and 2014,” said Doherty. “We took some classes together and worked independently in others, all the while growing in friendship.”

Doherty, who has taken Shemchuk’s workshops several times over the years, met McDougall and Beaudoin at one or another of those sessions. And Shemchuk’s teaching, especially on the paper layering technique, has been instrumental in the birth of this Zack show.

“A couple of us thought that it would be interesting to show some of the work that we had created in his workshop,” Campbell recalled. “We thought that five [artists] would be a good number to demonstrate the cohesiveness of the art, as a result of us all using the same techniques, but also showcase each of our individual styles.”

photo - Dorothy Doherty — Dorothy Doherty *(photo from the artist)*

Doherty came up with the title, Beyond the Surface. She said the rest of the group quickly agreed. “I think the word surface resonated with us because we all do unique surface treatments,” she said. “Surface is really important in art and in life, but we always want people to look beyond appearances – learn about people and artwork in greater depth.”

To produce the works, the artists manipulated a surface in many ways. They layered, sanded, abraded and painted it; even cut into it to reveal what lay beneath.

Beaudoin elaborated: “Beyond the Surface is the ideal name for this show, as the technique we all used is based on the process of layering paper and paint. As we add and subtract paint and materials by sanding or scraping, each artist makes decisions about what elements to reveal and what to hide. The final surface is one that often appears aged and somewhat mysterious, providing the viewer with enticing glimpses of things that are hidden beneath the surface and leaving them to wonder what has been covered.”

In a way, this show’s unusual story echoes its title as well. While a traditional vernissage is an event where art connoisseurs mingle inside a gallery, the pandemic forced Zack Gallery director Hope Forstenzer to show and promote the art digitally.

“She did a virtual tour of our show at the JCC,” said Campbell, “and she is also interviewing each of us in our studios live via Zoom, so that people can see our art and have a virtual tour of our studios.”

photo - Janice Beaudoin — Janice Beaudoin *(photo from the artist)*

The artists mused about the changes in their field and in gallery procedures wrought by COVID-19.

“My sense is that pandemic or no pandemic, artists will always make art. The biggest challenge is going to be getting the art out to the world to enjoy,” said Beaudoin. “There is always a basic human desire to stand before a work of art in person. That is definitely the best way to engage with a painting. However, there is a generation of media savvy younger art buyers who are used to purchasing things by seeing them on a computer screen. I think that galleries that are working to provide virtual viewing options are the ones that will survive. The art world, like all industries, really has no choice but to adapt.

“I also feel that it must be acknowledged that many people still find comfort in seeing art in person. The art world is known for its fun social events – and we know now that the comfort of human contact cannot be fully recreated online. My sense is the future of art shows and museums will be a carefully managed balance of socially distanced in-person viewing and virtual showings.”

“I have been fortunate,” said Campbell. “I continue to meet regularly with three other artists. We create our art at home and then share it with each other on Zoom. With another artist friend, I have been playing Photoshop tennis online. One person sends the other an image, the other person adds another image through Photoshop, and this continues until the piece is finished.… I think that we are in this for the long haul; two years, maybe more. I think that, in the future, art shows will continue in real life – in fact, it is already happening – but I do think that some of the virtual things will remain.”

“It’s hard to say how the pandemic will change exhibition practices in the future,” said Doherty. “I do appreciate all the online exhibits, as there would be no other way to see many of these exhibitions. But I really believe there is no substitute for the gallery system as we know it, with wonderful opening nights and the ability to see the artwork in person. We need that direct exchange of human energy, and the feedback we get from visitors and friends. We need access to art in galleries and to artifacts in museums – it’s how we learn. I have always said, despite my gratitude for online Zoom meetings, that the human experience is not the same. It’s flat instead of three-dimensional. We are looking at screens. We are not looking at the real person. There is no exchange of human energy online. We need direct human contact. That’s what we need to live happy, successful lives.”

photo - Jane McDougall — Jane McDougall *(photo from the artist)*

For McDougall, the pandemic hasn’t changed much for her. “I think most visual artists are used to working in isolation. My art practice has remained the same,” she said. “Listening to CBC in my studio keeps me up to date on the world and, of course, most of the talk is about COVID. I feel grateful to live in B.C.

“I am generally a positive person and my thoughts reflect that. I think there will be more of an online presence for art,” McDougall continued. “And, like Hope Forstenzer’s example throughout this show, there will be interactive web calls and taped studio visits. Because of that, artists will become more involved in the galleries. Long term, I think the pandemic will pass. Art galleries and museums will always be an important element in education and sharing the past. Nothing will replace the up close and personal view of art.”

photo - Ellen Pelto — Ellen Pelto *(photo from the artist)*

Pelto agreed. COVID has changed exhibition practices, she said, and “will inevitably change the future practice of making, exhibiting, buying and selling art. However, people will always need to see art. That will not change. People need to see it to appreciate the scale, proportions, richness of colours and textures, and to feel their evocative response. Some of the positive outcomes include the creation of more and stronger online artistic communities. The online presence increases exposure for artists, and interesting themes will emerge in art that will define the human condition of COVID.”

Beyond the Surface runs until Sept. 8.

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

Zack Gallery’s new director

Former Zack Gallery director Linda Lando, left, with new director Hope Forstenzer. (photo by Daniel Wajsman)

The Sidney and Gertrude Zack Gallery at the Jewish Community Centre of Greater Vancouver has a new director, Hope Forstenzer – one of the few directors in the gallery’s history to be a professional artist.

Forstenzer is a graphic designer and a glass artist; she is a member of the Terminal City Glass Co-op. She takes over the reins of the Zack Gallery from Linda Lando, who retired at the end of last year.

“I have a background in visual art and performing art,” Forstenzer told the Independent. “For years, I was the artistic director of a multimedia company in New York. We worked on short plays: judged them and then produced them around New York. It was an amazing job, very interesting, but it didn’t pay my bills. For that, I worked as a graphic designer.”

She also taught graphic design, first in the United States – New York, Seattle and Baltimore – and, later, in Vancouver, after her wife accepted a job at B.C. Children’s Hospital in 2012 and the family moved here. Forstenzer has been teaching graphic design at Emily Carr University of Art + Design and at Simon Fraser University.

The artist began working with glass in 2001, while still in New York. She liked it so much that she made it her principal medium. A number of glass shows in Seattle and Vancouver have included her pieces.

“I had two solo shows for my glass, both here in B.C.,” she added. “I also participated in a group show at the Zack in 2015.”

The life of a freelance artist is a hectic one. Forstenzer has had to juggle her teaching schedule and studio time, plus a family with young children. She longed for more professional stability.

“I started looking for a steady part-time job,” she said, “then I heard Linda Lando was retiring from the Zack. I always loved this gallery and its artists, loved the JCC. I decided to apply for the job. I’ve worked in leadership positions in the art field all my life, so this job seemed perfect, both in its essence and its timing.”

Her plans for the gallery are extensive. “I want to do at least as well as Linda did. She was a marvelous director, so I have big shoes to fill.”

Forstenzer is already working on future shows, both solo and group exhibitions, in various artistic formats. “I love diversity,” she said. “But a group show might be harder in some ways to jury and organize. Art is always subjective and, in a group show, some people will always like certain artists more than others. The trick is to make it work for the majority…. When a curator assembles a group show, it is a collaboration, like putting together a puzzle, making as little dissonance as possible from the disparate pieces. On the other hand, in a solo show, you create a flow of energy.”

With regard to the gallery and its place in the community, Forstenzer said, “I want to make sure the gallery is connected to the JCC. We are part of it, and that should be emphasized. It doesn’t mean only Jewish artists – the JCC has a diverse membership, it draws in people of all ages, skills and cultural influences. I want to reflect that in our future shows and programs. Linda started that with her amazing poetry series. I want to do more. Children’s programs. Sessions for older citizens. Workshops for families. I want interactions with the gallery. I want our visitors to be part of the shows.”

As for the artists, she said, “I want to create a nurturing environment for them in the gallery, want to encourage younger artists, not just in age but in experience. Some people only start in the arts after they retire, and their mastery in other areas makes them unique in artistic venues. I want to establish a relationship with our artists, so they will trust me.”

Forstenzer is sure that her being an artist herself is an asset for her work as gallery director. “I’m not only an artist, I’m a fan of the arts, of beautiful things of any kind. It’s not really that common. Many artists are not fans, they prefer their own art to anyone else’s, but I love art. When I visit a museum or a gallery, I want to absorb as much as I can of the other artists’ imaginations.”

Her years as an artist and as an art administrator give her a unique perspective – to see the gallery from both sides. “I can advocate for the artists,” she said, “but I also can and will represent the gallery and its patrons.”

While acting as the gallery director, Forstenzer said she will not exhibit her own work at the Zack. “It would be a conflict of interest,” she said. “I’ll never exhibit here. I will participate in the Terminal City Glass Co-op’s group shows as a glass artist, but, at the Zack, I’m the director, not an artist. I will keep a hard line between my glass-blowing and my gallery.”

To learn more about Forstenzer’s glassworks, visit her website, hopeforstenzer.com.

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

***

Editor’s Note: This article has been corrected to reflect the fact that Hope Forstenzer was not the first Zack Gallery director to be a professional artist, but rather is one of the few directors in the gallery’s history to be a professional artist.