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Name inspires artist’s work

Growing up in Vancouver during the 1960s and ’70s, I was the dancer, my brother was the guitarist and my sister was the writer, soon to blossom into a visual artist as well.

Devorah Stone, my sister, is one of the contributors to this year’s Calling All Artists exhibit, which opens at Victoria’s Congregation Emanu-El on Aug. 26. Since the early 2000s, the mostly annual event has celebrated artists of many kinds – sculpture, ceramics, textile, poetry, mixed media, fabric, music – who offer their interpretation of a rabbinical or biblical text that they’ve studied with the synagogue’s spiritual leader, Rabbi Harry Brechner.

photo - Devorah Stone created a honeybee circle for this year’s Calling All Artists exhibit, which opens at Congregation Emanu-El Aug. 26 — Devorah Stone created a honeybee circle for this year’s Calling All Artists exhibit, which opens at Congregation Emanu-El Aug. 26. (photo from Devorah Stone)

“This year’s theme is ‘animals’ and since my name means ‘Honeybee’ in Hebrew, I went with that,” Devorah told me. “The bees in my work are all hand-felted, a technique that involves pocking at wool and shaping the form. I decided to present the bees in circles because they are so crucial to the circle of life.”

The artists’ works are up for six months in the shul’s social hall. Devorah has been involved with the event for the last 10 years. Rabbi Brechner gives a lecture on the theme and how it pertains to Jewish traditions, sacred writings and thought once a month for five months before the celebration. This year, his teaching focused on the significant symbolic and ritual roles animals play in Jewish texts.

“I’ve learnt so much about both art and Judaism attending the rabbi’s lectures,” said Devorah. “Anyone can join … you don’t even need to be Jewish.”

The Calling All Artists project is run by self-proclaimed “den mother” Barbara Pelman. She said there is a chapbook written every year with an explanation of each artist’s creative process and a copy of that is given out to guests.

“In last year’s Calling All Artists, I did the kohain gadol’s (high priest’s) breastplate with references to all the various colour and gem stones as described in the Torah,” said Devorah. “The only difference was the mannequin I used was a woman’s so I pretended that there might have been female priests at the time of the Temple!

“I’ve also done a collage of a person wearing a tallit and the burning bush, a three-dimensional piece of the Rosh Hashanah dinner, and another collage on a wooden cradle of the story of Abraham and Isaac.”

Devorah has always been fascinated with art.

“As a child, there was nothing better than a box of crayons and endless paper,” she said. “I drew space ships, planets and alien worlds. I also drew castles and princesses. I loved it. My imagination had no limits.”

In her 20s, Devorah spent four years at the University of Victoria, earning a bachelor of fine arts. All the while, she felt inspired by Emily Carr and Indigenous art.

“I loved the way Carr personified nature and her magnificent trees,” she shared. “I marveled at the complexities, elegance and craftsmanship of the First Peoples of the land.”

Our parents also brought us up with a strong Jewish identity.

photo - Devorah Stone — Devorah Stone *(photo courtesy)*

“Being Jewish, I was taken by the imaginative work of Chagall, his goats and houses and how everything seemed to be floating or suspended,” said my sister. “Later on, I began to be influenced by the school of Bauhaus design, especially Kandinsky, his calculated and yet whimsical designs.”

After Devorah moved to Victoria 20 years ago, she joined the Pandora Arts Collective Society. The group exhibits its works at the Little Fernwood Gallery twice a year and Devorah recently sold a painting there.

The collective is a community of people whose mandate is to facilitate and support mental health through the social and educational benefits of a free and welcoming creative arts space. The studio is open to everyone: professionals, students and beginners. The atmosphere is especially sensitive to people who are using art therapeutically. Devorah is on their board and has planned events for them in the past.

“We inspire and mentor each other,” she said. “I have learnt so much about art from that group. I’ve been introduced to many different kinds of art and artists, as well as being influenced by so many artists in our synagogue. The joke is that you can’t throw a rock without hitting an artist in Victoria!”

When she was living in and around Vancouver, Devorah brought up three children, two of whom live in the Lower Mainland. She visits all of us frequently and spends a lot of time on the ferry.

“I love doing fast sketches of the scenery as it goes by,” she said. “I also do fast sketches at outdoor concerts and festivals, which Victoria has so many of.”

Devorah uses pencil crayons, acrylic paint and watercolours, creates collages and sometimes three-dimensional art made out of whatever she can find.

“I love experimenting and I feel that all my art is influenced by being Jewish,” she said. “It all has a profoundly Jewish way of seeing nature and of being.”

The best way to view Devorah’s art is through Instagram @devlovesart.

Cassandra Freeman is a journalist and improviser who lives in East Vancouver.

Share delight of letters

“Shabbat Saskatchewan,” by Esther Tennenhouse. Part of Otiyot (Letters), a joint exhibit with her son Joel Klassen, which is now at the Zack Gallery.

Colourful and playful, dark and ominous, Esther Tennenhouse’s artwork is engaging and thought-provoking, as she offers her take on Torah and midrash, immigration and language, orthodoxy and modernity. Otiyot (Letters), an exhibit she shares with her son Joel Klassen, opened at the Zack Gallery last week.

Tennenhouse’s sense of humour, curiosity, imagination and sincerity come through in the work on display, and in her responses to questions about the exhibit.

“Ot means ‘letter’ (of the alphabet) – it also means ‘sign’ and ‘signal,’” she told the Independent. “It was my first choice of name for the show: Ot – Starring the Letter Shin. Sounds like ‘ought,’ as in ‘thought.’ Ot was visually terse (and sounds adorable). That was why it was Ot in [the] JCC program book – I had to provide that bit before these pieces were made! Yikes! But it got changed to the longer plural in Hebrew and lost its zap. More truthful, though, as I have so many (too many) words of explanation on the wall beside each piece.”

All the works were made specifically for the exhibit, said Tennenhouse, “only for this place, for anyone who happens to walk into the JCC,” where the Zack Gallery is located.

“I was driven by my own relationship to the alef-bet: me, a quite secular, second-generation, Winnipeg-born Jew living in Vancouver, of prairie-born parents, who learned my aleph-bet as a child, quite long ago. I think many like me, with my sort of education, walk by these gallery doors, so I thought they might wander in and relate.”

Born and raised in Winnipeg, Tennenhouse went to Talmud Torah there from age 4 to 11, then to public school. She earned a bachelor’s in English and, while working at the Winnipeg Free Press, majored in sculpture at the University of Manitoba School of Art.

She moved to Aklavik, in the Inuvik region of the Northwest Territories, and then to Yellowknife, where she learned about ceramics at the Yellowknife Guild of Arts and Crafts. She later worked with translucent clays.

Moving with her family – husband Ron, son Joel and daughter Timmi – to Vancouver in 1995, Tennenhouse found a home at Or Shalom, participating in the Talmud and Torah study offered there, reengaging in Jewish education after a break of some 45 years.

Klassen also attends Or Shalom. His art background includes having drawn at home and working with painter Sylvia Oates – who he describes as a mentor – in her Parker Street studio. Klassen has had a one-man show in artist Noel Hodnett’s Parker Street studio, and he was in the Kickstart Disability Arts and Culture’s 2019 group show Nothing Without Us at the Cultch. For the past four years, he has attended the JCC’s Art Hive, which is facilitated by Kim Almond.

Klassen’s Hebrew letters and drawings are in five of the pieces at the Zack Gallery, said Tennenhouse.

“Making letters as individuals, each with their own character, was the most fun to do,” she said. “Jan Wilson, a friend and quilter, offered to help if I drew out the correctly sized letters backwards for transfer and picked the fabrics.”

The letters comprise eight of the works on display, and offer much to think – and smile – about. Klassen’s aleph is filled in with leopard print fabric, surrounded in black with a flowered border. The word “wild” comes to mind as one looks at it, not just the wildness of animals and nature, but of human beings. The piece is called “Aleph in the Garden.”

photo - “Aleph in the Garden” by Esther Tennenhouse, Joel Klassen and Jan Wilson — “Aleph in the Garden” by Esther Tennenhouse, Joel Klassen and Jan Wilson.

“I did not shy away from diversity,” said Tennenhouse. “It’s sort of an underlying element. I felt the show had to offer something to any individual, whatever their history with the alef-bet, and it deals with very well-trodden themes. I felt a need for an element of surprise, which is one reason why Joel’s aleph became a leopard in the garden (of Eden?).”

A last-minute addition to the depictions is one of the 12 new letters for gender-neutral word endings that were created by Israelis graphic designer Michal Shomer a few years ago.

“They appeared in welcome signs outside schools and on IDF buildings, etc., but the kabbalist idea of the power of the alphabet lives on – the new letters were vigorously rejected by religious factions,” said Tennenhouse. “‘Changing the letters removes any kedusha (sanctity) the words have or any ability the words have of channeling God’s energy into the world,’ said sofer Rabbi Abraham Itzkowitz. ‘This project essentially makes Hebrew like any other language.’ Some of the signs were taken down. Religious schools were forbidden to use them.”

That said, Tennenhouse told the Independent, “What first tickled me into this aleph-bet project was the poetry and passion of the ideas of the early mystics. They conceived of letters of the alef-bet existing even before the creation of the world – all 22 were vessels of the divine, all things were created by their combinations. Meditative/ecstatic kabbalah taught that individual letters were something to meditate upon, which led to ecstasy, one of the steps to sense of union with G-d. American calligrapher Ben Shahn, who titled one of his books Love and Joy About Letters, quotes the 13th-century Rabbi Abulafia, who said the delight in combining letters is like being carried away by notes of music.”

Tennenhouse and Klassen’s “Shir” (song, poetry, chant, in Hebrew) is truly delightful, like a page out of a children’s book. A multimedia piece, it depicts several animals and the sounds they make, both in Hebrew and in transliteration, though the giraffe just “hum[s] at night.”

Two other works are striking, both on their own and in contrast to each other: Sinai 1 and Sinai 2.

photo - Detail of "Sinai 2" by Esther Tennenhouse and Joel Klassen — Detail of “Sinai 2” by Esther Tennenhouse and Joel Klassen.

The latter features three bright yellow flowers, surrounded by green. “It is a triangle canvas which is about the mountain bursting into bloom when Moses came down with the Ten Commandments – this was a midrash from the 1500s. The triangle has flowers by Joel. I asked him to put flowers on it, envisioning little flowers here and there – he just went swoosh woosh on it.”

Sinai 2 is a vertical rectangle with whites, greys and blacks depicting a furious ball of activity on top of the mountain that includes the Hebrew letters.

photo - "Sinai 1" by Esther Tennenhouse — “Sinai 1” by Esther Tennenhouse.

“The Torah tells of fear, awe, the shaking mountain, seeing sounds, lightning, Moses’ anger, the breaking tablets,” said Tennenhouse. “Looking back, I overburdened the canvas [with] anger, though laying on the 231 Gates – a diagram from the Sefer Yetzirah which shows each letter combining with each other letter of the alef-bet – because I see the story of the giving of the Torah as a sort of creation story for our intense embrace of literacy. The diagram relates to Rabbi Abulafia’s talk of combination of letters but distracts visually from the anger/violence, [the] mountain, fear.”

There is so much more in this exhibit.

“Cursive Handwriting: Kovno Testament” is a stark, unfinished work, featuring the words, written in his own hand, of Lithuanian writer Eliezer Heiman, who died in the Kovno ghetto during the Holocaust. It was to have three more samples of cursive, said Tennenhouse. “I left room for them before I put on the image of Heiman’s tablets. Those spaces stayed empty. Everything else edited themselves out because of what happened in Israel on Oct. 7.”

There is the multimedia triptych “Shabbat Saskatchewan,” which Tennenhouse said “is me trying to use real photos and documents to create some presence of my mother’s grandparents and parents.”

“It ended up being centred on great-grandmother Esther Dudelzak Singer, Baba Faige (Fanny) Singer and my mother with her sisters,” she said. “Yiddish was their mamaloshen (mother tongue) and the Sonnenfeld community was religiously observant.”

“The Owl and the Pussy Cat” adds colour and vibrancy to Edward Lear’s black and white drawing of his nonsense poem, the Yiddish translation of which – by the late Marie B. Jaffe – fills the two side panels of this triptych. Tennenhouse couldn’t find much information out about Jaffe, she said, “But, thanks to Eddie Pauls at the Jewish Public Library in Montreal, [I] learned she immigrated to New York in 1909 from Lithuania.”

Tennenhouse began to see the owl and the cat in their boat as sailors braving the rough seas, traveling around the world to find “Di Goldene Medine,” “the Golden Land,” America.

“You might say ‘Saskatchewan,’ too, is about leaving home, traveling across seas and finding a new place but keeping your language and culture,” said Tennenhouse.

Otiyot (Letters) is on display at Zack Gallery until Nov. 12.

Melding multiple forms of art

Karina Bromberg during Eden Shabtai‘s Elevate Intensive in Los Angeles in August 2022. (photo from Karina Bromberg)

“I think the difference between my dream as a kid and my wanting to do this professionally was getting to experience the behind-the-scenes of what it means to be a professional dancer and choreographer,” Karina Bromberg, 21, told the Independent. “I fell in love with the journey towards the ‘goal’ of being in a movie or on stage and that’s what made me want to keep pursuing this career path.”

Bromberg is the producer and director of the rishon series, which integrates choreography with live music, videography, photography and fashion. The first iteration, rishon.1, was held this past June and rishon.2 will take place at SKL Design+Vision in Burnaby on Oct. 14, at 1:30 p.m.

“Drawing from the knowledge acquired during the creation of rishon.1 and a careful analysis of the final product, my focus for the second instalment has primarily been on elevating the visuals displayed on screen, refining the choreography and creatively designing the performance space,” Bromberg shared with the Independent.

“Given that rishon serves as a platform for emerging and diverse creatives to converge, the cast for rishon.2 is intentionally different, maintaining a commitment to inclusivity and diversity. While the overarching goal and concept remain consistent,” she said, “the skills honed from the first iteration have empowered me to progress and further enrich what rishon offers to both the audience and the dedicated crew involved.”

The idea for rishon came in 2021, when Bromberg and a friend, during a freestyle session, gave each other different objectives to dance.

“I noticed I would analyze and apply the objective to my dance through the senses: How does it look? How would it feel? What smell would it have? Does it make a sharp, or soft sound?” said Bromberg, who is originally from Karmiel, Israel. “It was then that the idea to create something that will somehow involve the five senses formed. Months of pondering the idea led me to realize it needed to evolve into an in-person showcase, which later took the name rishon, meaning ‘first’ in Hebrew.”

Wanting to stage something different, Bromberg searched for venues that would allow audience members to stand amid the artists. “The ultimate goal,” she said, “was to create an immersive and intimate environment where both the audience and the artists were on the same level. Concurrently, I began working closely with TRS, a music artist, and was involved in campaigns for a fashion brand; getting to know artists from different industries, I saw the potential to bring us all together in one space. I expanded on rishon’s creative framework by bringing in the elements of live music, fashion design, modeling and video content of art created for screen.”

Bromberg has been dancing seriously since the age of 5, doing competitive aerobics in Israel, and, at 12, starting “hip-hop, house, popping and dancehall classes at the local dance studio,” she said. “I was dancing competitively at dance competitions like Hip Hop International in Israel and, upon immigrating to Canada, I stopped for about a year. It took me and my parents some time to understand how things work here and to find a studio we could afford and I could easily commute to alone. So, in the meantime, I learned routines off YouTube and danced in my living room.”

Bromberg was 14 when her family moved to Vancouver, and she admits to having been “resistant and closed-minded about the move … but my parents strived and worked hard to open up more doors and provide a better future for me and my younger brother.

“The story of why Vancouver is pretty funny,” she added. “My mom liked to go on Google Earth and see different neighbourhoods and, when she saw the Science World ball, she decided we were going to Vancouver. It was pretty, and less cold than the rest of Canada – which, coming from Israel, was important to us!”

Bromberg’s resumé now includes dancing in Netflix, Paramount+ and CW productions.

“In 2019,” she said, “there was a big audition for Christmas Chronicles 2, choreographed by Chris Scott. Unrepresented by a dance agency, I attended the audition and made it to the last round. I remember having a lot of fun, but I didn’t set my expectations too high. Two months later, while visiting my family in Israel, I received an email confirming that I had booked the job. It was such a proud and surreal moment. Being my first job, I absorbed a wealth of knowledge and remain thankful for the opportunity extended to me.

“The onset of COVID-19 resulted in a work hiatus until 2021, when I was directly booked for a short dance scene in Honey Girls. Being unrepresented at the time, I diligently pursued and submitted self-tapes to anything I could find. In the same year, I booked Monster High, my biggest commercial job to date. It was three months in length, and one of the best times of my life. I was invited back to dance in Monster High 2 in the beginning of 2023 and, following this gig, I was able to get represented by a local dance agency. I recently wrapped up filming for Riverdale Season 7, Episode 14, marking another milestone in my journey.”

Bromberg said she has always loved performing and would help choreograph end-of-the-year shows in her elementary school back in Israel. “I’ve just always had a pull to perform and dance and move my body,” she said. “I’ve always dreamed of being on the big stages or in music videos ever since I was allowed to watch MTV, but I think the dream became something more solid and realistic in my mind in 2021 when I was visiting LA to perform at a showcase. I have been training with a company based in LA since May 2020, four to five times a week over Zoom in my room or garage. The opportunity to work with the choreographer in person and to be in the room with people I look up to, I remember feeling so in my purpose and starting to believe even more that this is what I am supposed to be doing.”

Falling in love with the journey towards her goal includes a commitment to creating. She has videos on her website of solo dances that she has choreographed.

“I wanted to practise dancing for the camera, as well as start investing in my own ideas,” she said. “I often have a vision for visual art that can be made when I listen to songs, and I enjoy directing these videos and filming them, so I made a promise to myself to go through with every idea that doesn’t leave my mind and I have the itch to create.”

Several of the videos feature the music of Baby Keem.

“The production on the songs and Baby Keem’s delivery have stuck out to me since the first time I heard him, and the pull to choreograph and create to his music has been unstoppable since,” she explained. “I recently watched an interview with him, where he talks about constantly living in his art and taking inspiration from anything he does … and I feel very much the same. I go to concerts and watch for the creative direction, the choreography, the show flow, or I will put on a movie or a TV show and look at angles it was shot from and the editing. I am constantly playing music no matter what it is I’m doing and I often hit the ‘go to radio’ feature on Spotify to discover new artists and genres to continue the creative flow and keep an open mind. The inspiration comes from everything I do, consume and engage with.”

In this context, it is easier to see how Bromberg conceived and mounted the multifaceted rishon.

“From a technical standpoint, bringing rishon.1 to fruition in June required extensive research, numerous emails, location scouting, securing funds and making quick adjustments,” she said. “It was a significant learning experience for me, considering I had never organized an event before…. Building a team was crucial to me, and each member brought unique and specialized knowledge, contributing to the success of the show.

“Reflecting on the process, I almost forget the hard and consistent efforts, along with the many no’s I encountered while seeking funding and assembling my team,” she said. “Looking back, the overwhelming feeling is how right everything felt…. Creatively, outlining the show came naturally. I knew I wanted the soundtrack to be one album, and the ideas just flew to me. I went with my first thought, leaving no room for second-guessing. Whenever anxiety or ‘imposter syndrome’ crept in, I looked back at the progress I’d made, refocused on the work, and found it dissipating.”

For more about Bromberg, visit karinabromberg.com. For tickets to rishon.2, go to eventbrite.com.

Culture Crawl set to return

Suzy Birstein amid her work, some of which visitors to her studio will see during the East Side Culture Crawl. (photo by Britt Kwasney)

“I am most looking forward to healthily connecting with fellow artists and art lovers in real time, real space. Art is always more powerful in person,” artist Suzy Birstein told the Jewish Independent about the East Side Culture Crawl Visual Arts, Design & Craft Festival, which returns to its traditional format Nov. 17-20. Some 400+ artists will open their studios to the public.

“The sense of community, commitment, excitement, inspiration, appreciation – all that brought me to Parker Street [Studios] and East Side Culture Crawl originally is happening again,” she said. “It feels like a renaissance.”

photo - Photographer Esther Rausenberg, artistic and executive director of the East Side Culture Crawl — Photographer Esther Rausenberg, artistic and executive director of the East Side Culture Crawl. *(photo by Adam P.W. Smith)*

“After the two-year pandemic rollercoaster ride, I am thrilled we are back to a ‘new normal,’” said Esther Rausenberg, artistic and executive director of the Crawl, as well as a participating artist. “I do say ‘new normal,’ as we don’t have a crystal ball and I can’t really speculate how this year’s Crawl will play out. Personally, I am excited to get out and see all of the new and amazing art that has been created and to catch up with the artists. It’s also a real pleasure for me to meet members of the public as they share their enthusiasm for the event, the art and the connections they will be making with the artists.”

Birstein (clay, painting, sculpture) and Rausenberg (photography, Georgia Art Studios) are only two of many Jewish community members who will open their creative space to the public over the four days of the festival, which also features gallery displays, and artist demonstrations and talks. Other community members include, from Parker Street Studios, Shevy Levy (painting), Olga Campbell (clay, mixed media, new media), Mia Weinberg (painting) and penny eisenberg (drawing, painting); from Eastside Atelier, Lauren Morris (mixed media, painting), Ideet Sharon (assemblage, mixed media, painting), Stacy Lederman (mixed media, painting) and Karly Leipsic (mixed media); and, from the Arc, Lynna Goldhar Smith (installation, painting). Overall, festival-goers can explore about 68 buildings and studios in the Eastside Arts District, the area bounded by Columbia Street, 1st Avenue, Victoria Drive and the waterfront.

“This year’s event has a distinctly celebratory tone,” said Levy. “It is a reunion for Vancouver’s established art community, a chance to reconnect, to have meaningful discussions around art, not just with artists, students and educators, but with those who display art, like galleries and art management, and everyone who is excited to work together again.”

photo - During the pandemic restrictions, painter Shevy Levy started a new direction with her abstract work — During the pandemic restrictions, painter Shevy Levy started a new direction with her abstract work. *(photo from Chutzpah!)*

Thinking of the last couple of years, she noted, “What was fascinating about the immediate impact of COVID-19 was the sudden loss of collective connection – both human (face-to-face) and the collective understanding of what the future might bring…. When we were forced to isolate, I appreciated the introduction of art to the digital and virtual world, and how it helped the art world, in many aspects, to find new ways to connect with society. However, now I understand how much I, like so many of my colleagues, urgently need constant interactions with the community – 2022 Crawl is here to fill some gaps.”

Goldhar Smith – a multi-disciplinary artist who has spent more than 30 years in theatre performance with painting very much in the background – is excited about the chance to show her visual art to a lot of different people. “I especially love the opportunity to see their responses to the work and engage in lively conversation when it’s possible,” she said.

photo - Lynna Goldhar Smith — Lynna Goldhar Smith *(photo from Chutzpah!)*

Interested in integrating her visual art practice with her performance practice, Goldhar Smith said, “I have been building installations in my studio to that end and so, among my paintings and prints, visitors will see the beginnings of more conceptual ideas in some of the physical objects and paper sculptures in the studio.”

Whether abstract or figurative, Goldhar Smith seeks to express the intangible qualities of human experience in her work. “If I paint a landscape, it is as much an emotional or psychological landscape as a place,” she said. “Yet, at the same time, if I paint an urban crow or a heron, it is more an expression of honouring the urban wildlife, and reminding myself that I am in their domain. I hope that makes sense. Whatever I paint, I am like an improvisational actor, responding to the moment, with one brushstroke informing the next. The meaning emerges after the fact. It is not so much I make my art, as my art makes me.”

For Goldhar Smith, the pandemic was a dramatic reminder “that we need to behave more responsibly, more cohesively, with more compassion and care for each other – with more understanding of our connection to each other – and to view ourselves as part of nature and part of one planet all together. Yet, we are so divided. If there was ever a time for artists to get focused, this would be it.

photo - “Gloria” by Lynna Goldhar Smith — “Gloria” by Lynna Goldhar Smith *(image from Chutzpah!)*

“Artists, and art, have the privilege and responsibility of their voices,” she continued. “We need to use our voices to contribute to the global change that is necessary. We need to speak up with courage and make brave art.

“We need to be endowed with the respect that what we do is of great importance and we need to be valued, supported and encouraged because artists bring meaning and perspective and also disruption and confrontation with the status quo. We need to see how our art fits, not so much into the art marketplace, but as a central driver of change that can address the pressing needs of our time.”

Levy expressed a similar view.

“So many artists, myself included, produce artwork with an outcome in mind, such as an exhibition or career step,” said Levy. “The challenges of the past few years forced me to take the time to reflect on my own art practice, taking it to the next level by exploring new avenues and fresh approaches. I had to remove and free myself from that outcome. I was able to experiment and create work that connects me better to the meaning of being a better human and better artist, as opposed to a ‘professional artist’ operating within the structures of a commercial art world.”

Birstein also used the pandemic period for self-reflection. “The enforced isolation of the pandemic,” she said, “gave me the gift of time: time to create, experiment, reflect, all day, every day. This is a first in my art practice and I was very productive.”

Birstein created two bodies of work for two solo exhibits in 2021 and 2022.

“Tsipora: A Place to Land was exhibited at the Zack Gallery,” she said. “Tsipora is my Hebrew name, meaning Bird. Pre-COVID, the bird symbolized a freedom of spirit while taking flight. With COVID, it was a time to nest, to find a place to land.

“Frida: When I Have Wings to Fly was exhibited at POMOArts. Frida is a continuation of my art historical portraits, Ladies-Not-Waiting, inspired by Velasquez’ masterpiece ‘Las Meninas.’ This series speaks to Frida Kahlo as a symbol of feminine strength and empowerment: a person who transcended tragedy and transformed it into beauty. My sculptures and paintings invite the viewer to converse in intertwined stories of myself, my mother, Frida and other historic figures that embody resourcefulness, resilience and beauty.

“Materially, both bodies of work involved much experimentation with structural techniques, surfacing with fired and cold materials, addition of repurposed objects.”

For Levy, the last couple of years allowed her to start a new direction with her abstract work. “Slowly, I developed large-scale canvases that were marked by bold and expressive brushstrokes,” she said. “I am excited to share with the public my new collection, A Portrait of a Flower. My work demonstrates the flowers as a source of lines, shapes, negative space, gesture, colour and value, or another source of abstraction.”

The pandemic period also gave Levy the chance to explore more remote art communities. “Pre-COVID,” she said, “I used to share and exhibit my art within my immediate community. In the last two-plus years, I had more time to develop my social media presence and expertise. As an outcome, 2021 was the best year ever of showing and selling my work.”

Birstein also pointed to the technological silver lining of COVID. “With the necessity of communicating virtually while globally isolated,” she said, “I see the world of art opening in terms of compassion, imagination, inclusion, respect – all of this so apparent at this year’s Venice Bienale, from which I have just returned.”

In addition to the open studios Nov. 17-20, the East Side Culture Crawl features a multi-venue, salon-style curated exhibition called NEXT, which “explores the after-effects of living through a pandemic as we long for and ponder about what’s next.” There are also several other events. For more information, visit culturecrawl.ca.

Nature-inspired artist

Two of artist Monica Gewurz’s paintings – “Silver Marsh” (above) and “Dawn II” – are featured in the exhibition of the Nature Trust of British Columbia’s Artist of the Year Award. “Silver Marsh” was inspired by a sunset at Addington Point Marsh, one of NTBC’s properties, which aims to conserve waterfowl and fish habitat, and “Dawn II” by a visit to Vaseux Lake in the Okanagan, an NTBC property that protects habitat for bighorn sheep and other threatened species.

Two of artist Monica Gewurz’s paintings have been selected by a jury to be included in the exhibition of the Nature Trust of British Columbia’s Artist of the Year Award. The joint show of the Federation of Canadian Artists and the Nature Trust opens on Oct. 18 at the Federation Gallery on Granville Island.

Before turning her focus to art in the past several years, Gewurz had worked in both the public and private sectors, in areas from commercial real estate to tourism to aboriginal issues. However, art was an integral part of her upbringing in Peru.

photo - Monica Gewurz — Monica Gewurz *(photo from Monica Gewurz)*

“For my parents, art was as important as science,” Gewurz told the Independent. “My mother was also an artist, and she exposed me to art at an early age – not just Judaica and Peruvian art but also art from different cultures. We traveled a lot. I always enjoyed visiting museums and art galleries. And I always had my camera with me, always took pictures. Landscapes and close-ups, textures and patterns always fascinated me.”

Upon graduating high school, however, she chose a different path.

“In the early 1970s, I was studying to become a veterinarian in Peru. At that time, South America went through some economic and political unrest,” she said. “Peru had a military government, and antisemitism was on the rise. My university was hit repeatedly with strikes and class closures. Getting an education was becoming difficult and dangerous. That was when I decided to move to Canada. With my parents’ financial support, I came alone to continue my studies at the University of Guelph. My parents immigrated later, in 1985.”

After university, Gewurz worked for the Canadian government, but she couldn’t abandon her art. “My photography, jewelry and painting all started as hobbies. I needed an outlet to balance my hectic and stressful full-time job…. In 2000, I started making tribal and sculptural jewelry. I was successful enough to showcase my pieces in national craft shows and then commercially in some galleries, here in Vancouver and in the U.S.”

She knew that most professional artists had formal art education, so she enrolled at Emily Carr University of Art + Design in 2011. “I could study there part-time while working,” she said. “It would also allow me the opportunity to meet other artists.”

She finished her studies at Emily Carr in 2016. Coincidentally, she couldn’t continue at her government job for much longer. “Due to a life-threatening autoimmune illness, in 2017, I had to retire,” she explained. “That gave me the opportunity to embark on a new career as a professional artist.”

Gewurz’s paintings are mostly abstracts, reflecting the landscapes of the West Coast. “The force and energy of water and its associated reflective light, the interplay of shadows and colours in a landscape, have always drawn me in as a scientist and an artist,” she said. “The endlessly changing skies and the patinas of precious minerals mesmerize me. I am fascinated with the contrasting nature of life. I paint it all to provide an escape to a dream-like place.”

Fractals in nature and stylized figures frequently populate her paintings. She doesn’t strive for photographic correctness. “Painting in abstract challenges me to represent reality in a veiled, mysterious and intriguing way,” she said. “Abstraction and the use of texture allow me the freedom to change what I see and feel into my own expression. The artistic process is, for me, one of constant discovery and conversation. The painting speaks to me, tells me what it needs, and I respond.”

Although initially she used brushes, she said, “Lately, I transitioned to using mainly a palette knife and other unconventional tools. As a result, my art became more abstracted and complex.”

She bases her paintings on her own photographs and on her memory; she never paints on location. “I paint from the heart and intuitively,” she said. “I don’t paint anything specific in a landscape and that’s what I love about it – the process of being able to use the paint any way I want. I leave out a lot of visual information. That allows the viewers to use their imagination, to see and describe every painting in their own way.”

Gewurz gifts much of her art to charities and friends. “It is exciting for me to witness the connection some of my ethereal-looking paintings elicit in viewers,” she said. “It humbles me, when people I’ve never met immerse themselves in the layers, shades and textures of my paintings and then share with me how they are seduced into a visual, tactile and emotional response. When such a connection is made, I feel that I accomplished my mission. Of course, the cherry on the cake is when somebody buys a painting and becomes a collector and, many times, a friend.”

She shared one such a case. In 2014, an interior designer from Singapore saw one of her mixed media paintings at an exhibit and contacted her for a commission. The painting was two by two feet, said Gewurz, “but she wanted a much larger one, measuring seven by four feet, for her client, a new five-star hotel in Hong Kong. That was a turning point in my career and a huge jump in scale for me. That painting still hangs in their lobby.”

Mixed media seems to be Gewurz’s preferred style. She incorporates in her pieces ancient and modern materials, such as textiles, sand, rust, aluminum foil, copper and silver. She paints in multiple layers to seduce viewers in visual and visceral encounters. But, whatever the materials, her theme remains predominantly nature.

image - “Dawn II” by Monica Gewurz — “Dawn II” by Monica Gewurz

Gewurz’s love of nature led to her involvement with the Nature Trust of British Columbia (NTBC). “I am a donor and volunteer,” she said.

She is also an active member of the Federation of Canadian Artists (FCA).

“One of the main FCA missions is to outreach and raise awareness about conserving the environment and natural spaces,” she said. “Every year, FCA asks their membership to submit a proposal for a show that deals with social and environmental issues. I submitted the idea to have a joint show with NTBC, as they had a common vision, and also to take the opportunity to celebrate their respective anniversaries. Both director boards reviewed and accepted my proposal.”

Of course, she longed to participate in the show as well, since its underlying purpose – the conservation of British Columbia’s endangered habitats – is close to her heart.

“FCA holds several juried shows every year,” said Gewurz. “I regularly submit and often get juried in to showcase in them. This time, I applied as well. I was thrilled and honoured that two of my paintings were admitted. There was a lot of competition.”

Gewurz’s commitment to environmental issues extends beyond her participation in such shows and groups.

“I use upcycled materials in some of my mixed media art,” she explained. “There is beauty in repurposing materials because of their distinctive uniqueness and imperfect textures. Also, the fact of my using them conveys the message to the viewer about the importance of decreasing waste and minimizing our carbon footprint.”

She added, “Art can certainly open people’s eyes to how much our lifestyles imperil the planet. Art could encourage all of us to make positive changes.”

See more on Gewurz’s website, mgdesigns.org.

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

Chosen Family now at Zack

JQT Vancouver executive director Carmel Tanaka at the Zack Gallery, where the Chosen Family exhibit is on display until Sept. 30. (photo from Carmel Tanaka)

In a Simon Fraser University survey of more than 4,000 elderly Canadians (55+), conducted from August to October 2020, to see how people were coping with the pandemic, about 10% of respondents identified themselves as part of the LGBTQ+ community. These respondents were more likely to follow COVID protocols and to have said they “feel they have been here before” – they were 10 times more likely to report experience with HIV/AIDS than heterosexual persons. Among the many other findings, LGBTQ+ respondents were less likely to ask relatives for help, but more likely to call upon close friends.

In the context of the pandemic, then, the focus of the new exhibit at the Zack Gallery has added significance. The show, called Chosen Family, is a multimedia partnership between the gallery and JQT Vancouver in honour of Vancouver Pride. It opened officially on Aug. 26, with the artists in attendance.

JQT (Jewish, Queer and Trans) is an arts, culture and education nonprofit organization. It is dedicated to creating connections and seeking space to celebrate the intersectional identities of Jews of diverse sexual orientations and genders. The organization’s executive director, Carmel Tanaka, said JQT’s members are accomplishing their goals “by queering Jewish space and ‘Jewifying’ queer space in Vancouver.”

“We started JQT in Vancouver four years ago, as a grassroots movement, everyone was a volunteer,” Tanaka told the Independent. “We incorporated as a nonprofit in 2020. This show feels like a milestone. It is probably the first exhibition here, at the Zack Gallery, that features exclusively queer Jewish artists.”

The theme of the show, Chosen Family, reflects that some LGBTQ+ individuals face rejection by their immediate family and must look elsewhere for understanding and acceptance. “I’m lucky,” said Tanaka. “I didn’t have to look for another family; my family was supportive. Unfortunately, that’s not true for everyone.”

image - One of the images in a series of six by Ari Fremder — One of the images in a series of six by Ari Fremder.

Only a few artists are featured in the exhibit. “We invited more artists from the JQT community, plus their families, to submit art for the show, but not everyone was easy with the invitation,” Tanaka said. “Some didn’t feel ‘artistic’ enough. Others didn’t feel Jewish enough. Still others – the older people mostly – didn’t feel entirely safe to identify themselves as queer to the wider community. It is an ongoing vulnerability issue with many of us.”

Another reason might lie in the location of the gallery. “The Zack Gallery is inside the Jewish Community Centre, so the art must be family friendly. That might be a limiting factor for some artists,” Tanaka mused. “We might look at another venue next time.”

The show includes art in a variety of media: paintings, prints, textiles, cinematography, sculpture. A series of six pictures by Ari Fremder all have the same size and structure – a human face surrounded by flowers – but they centre on different faces, representing different friends or family members, and have varied arrangements of flowers. Nonetheless, they all have one thing in common – they are all beautiful and upbeat.

Two of Fremder’s paintings are self-portraits. One looks like a face in repose; the other an angel with black wings. The angel soars in the dark sky and, unlike the six-photo series, this image is moody and contemplative.

image - A collage by artist Holly Steele — A collage by artist Holly Steele.

On another wall, there are several paintings by Holly Steele. In one, a multimedia print, hands clasp together in various combinations: hands of friends and hands of family, interspaced with positive, trust-affirming words. The image, done in a muted greenish-yellow palette, screams of the yearning for acceptance.

In the centre of the gallery resides a sculptural composition by Morgan Strug. A dinner table with chairs around it shows us what a family meal means to the artist. There is understanding and affection there, benign teasing and fierce joy in the others’ fulfilments. Is it wishful thinking? Is it the artist’s reality? Everyone can decide for themselves.

Strug is the director of the short movie Enby, which screened at the Vancouver Queer Film Festival earlier this month, and the film is part of the Zack exhibit. The gallery planned three screening dates, the first being for the exhibit opening Aug. 26, as well as Sept. 9 and Sept. 30. Those who want to see it should contact the gallery first.

“This is a very eclectic show,” Tanaka said. “It is the first art show for several of the participating artists. Some of them celebrate both their identities: as a queer and as a Jew. We would love this show to become an annual tradition.”

Chosen Family continues until Sept. 30. To learn more, visit jqtvancouver.ca.

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].

Family history informs his art

Much of artist Seth Book’s work has been influenced by his maternal grandfather, who was a Holocaust survivor, including “A Series I Don’t Want to Continue” – “One work to symbolize each character tattooed on his arm, and each million Jewish people that were massacred,” explained Book. (photo from Seth Book)

“My art began as solely for the enjoyment of creating work that was esthetically pleasing, but it has since changed to serve a didactic purpose and to provide awareness to social issues and histories that are important to me and my family,” Seth Book told the Independent. “A significant part of my work is to keep the legacy of my grandfather, survivors, and Jewish history alive.”

Book is a member of the third generation. “My mother’s father was a Holocaust survivor, originally from Romania. He went through a few camps, Auschwitz being one of them. Since seventh grade, I have completed a significant amount of research on his story, directly with him while he was alive, as well as after his passing, and, like many other survivors, he had an unbelievable journey,” explained Book, whose work will be on display at Art Vancouver April 16-19, in the unlikely event that the spread of COVID-19 is under control by then and the fair is allowed to take place.

“His presence in my early life has been extremely impactful on the way I live and see the world,” said Book of his grandfather, “and this is what has influenced my art. I truly believe that, in school, work and life in general, I have gotten my tenacity, conscientiousness and resilience from my zaide. As I learned more about his life and what he fought so hard to build for my family, he became a strong source of motivation and drive to succeed in my life. I still uncover bits and pieces about his life after the Holocaust.”

While his art for the past few years has been primarily concerned with his grandfather, the Holocaust, survivors in general, and present-day antisemitism, Book said the past year has been “transformational.”

“My connection to my grandfather allowed me to begin my work at this starting point relative to my own history,” he said, “but it has since expanded to include broader focuses, such as the current generation living on the legacies of survivors, as well as generational trauma and current events affecting the global Jewish community.”

Book, who works at a branding agency doing graphic design and writing copy for clients, is set to finish his bachelor of fine arts degree at the University of British Columbia. His coursework has allowed him to learn about and use many different mediums, he said, “including drawing, digital media, photography, painting and metalwork.”

Born in Vancouver, Book has lived in the Dunbar area his entire life. He attended Vancouver Talmud Torah from preschool to Grade 7, and then went to St. George’s School for his secondary education. He continued his involvement in the Jewish community via Temple Sholom, he said, “where I participated in the confirmation class in 10th grade and then taught at the Sunday school in 11th and 12th grade. I was also lucky enough to travel to Israel with my family on the Temple Sholom trip after my bar mitzvah.”

He was well-versed in diverse media long before his university years.

“Growing up, I was always interested in creativity: building structures, doing crafts, colouring, and especially playing with LEGO,” he said. “I recall being hilariously picky with colours and colouring inside the lines when drawing with other kids as early as preschool; I always find it funny to this day how much it bothered me as a toddler to see other toddlers using odd colour combinations or messy drawing.

“This interest in art was then supplemented by Colette Leisen’s art class all throughout VTT – it was probably my favourite in elementary school. This carried on into various art classes in high school, including drawing, animation, graphic design, ceramics and painting.”

photo - Seth Book — Seth Book *(photo from Seth Book)*

Book said it is hard to define his artistic style because he has always been interested in finding new mediums and approaches. But he has less need for such definition since he began university. Since then, he said, “I have been able to let go of that and continue exploring what interests me rather than being labeled as a ‘painter’ or a ‘photographer.’ I always find that different mediums have such an incredibly unique ability to succeed in accomplishing a piece better than others. In other words, certain mediums are more effective than others in conveying certain ideas or concepts for varying projects. That being said, I try to use the best option I can for each work, trying not to limit myself in expertise. I can always try and learn! I did not work with metal until late 2019, and have already created two works using it, and I am very satisfied with how they turned out.”

Book, who has a background in business management in addition to his art training, said he first heard about Art Vancouver through a summer internship program he took part in a couple years ago, and has kept in close contact with the team there since. “I have loved working with the organizers and enjoyed attending the event every year,” he said. “I quite like the efforts they make to advance the art scene in my hometown and can’t wait to be a part of it as an artist this time.”

Hopefully, he will get that chance, but, even if Art Vancouver is canceled or postponed because of COVID-19, Book is an emerging artist whose works will available at other venues at other times.

He was able to tell the Independent about two pieces he was planning on bringing to the art fair. While he had not firmly decided on all the pieces yet, he said, “I selected the works from my portfolio which I have found to be the most striking, the works that I have received most compliments about, as well as the works which I feel represent my wide practice the best when shown together.”

One of those creations is called “A Series I Don’t Want to Continue,” which comprises six digitally rendered vinyl decals adhered to six two-foot-by-three-foot melamine sheets.

“A series opens an idea and simultaneously closes it,” reads the work’s description. “The values in between the first and last work tell a story or convey some sort of meaning through the relationships formed with the works in between.”

It continues, “A series of works in any media all relate to one another through consecutive nature. Labeling a group of entities as part of a series can bind them together, locking them out from further creation or reproduction. This is where the concept of my work integrates itself reflexively within the format of a series work. Through this work, I explore the contained value of past events, and particularly the Holocaust, in relation to my grandfather’s story.

“When he passed away, the evaluation of his extreme tenacity and hard work to establish our family and provide futures for generations to come was recognized more than ever. ‘Never again,’ the words that often cross our mind, could not be stronger upon recounting the horrors he endured. Never again, but also never forget. These events happened. They must be taught and preserved, but they are contained, and must never grow…. One work to symbolize each character tattooed on his arm, and each million Jewish people that were massacred. There will not be a seventh work in this series.”

The other piece that Book wanted to bring for sure to Art Vancouver is called “Untitled Crowd (The Stars, The Blues, The Ashes).” The 22-inch-by-30-inch ink-on-paper work is also related to the Holocaust. The description reads, in part, that the Nazis’ attention to detail was “dual-edged.”

“On one hand,” it notes, “they kept extremely particular and accurate data records of the prisoners murdered. Ironically, on the other hand, the attention to human detail was nonexistent. When Jewish people were funneled through various camps, they were stripped of their belongings and identities. They were nothing but a number.”

In “Untitled Crowd,” Book writes, “I attempt to discuss this specific lack of attention and elimination of one’s person. Each work is a recreation of real people who either survived or perished during the Holocaust. In order to illustrate the lack of respect and attention given to these unfortunately abused people, I spent a specifically short time on depicting them in the piece. Each face was dedicated about six minutes, to correspond with the six million lives lost. The faces are all overlapping with one another to represent not only the crowds of people who were murdered and their brutal living conditions, but also the morphing of individuals into a mess of numbers and bodies rather than human beings.”

The piece’s three parts carry added symbolism. “The first work is done with shades of mustard yellow to signify the yellow stars Jewish people were forced to use as identification, and the shades are more distinct in overlapping to show not all identity had yet been lost,” writes Book. “The second work is completed with shades of blues to represent the blue-striped pyjamas prisoners wore, and the difference in tone decreases to create a more homogenized look as they lost identity. The final work uses the greyscale to convey the ashes of those perished, and the gaining age of survivors around the world.”

For more on Book, visit his website, sethbook.ca. For more on Art Vancouver, see artvancouver.net.

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].