idea of memorial

Lately I have been thinking about how to talk about my work and mulling over the idea of memorial. Just a few minutes ago, I found an entry from an old journal written on Easter Sunday 2008. At the top of the page is a question- I am not sure if someone actually asked that of me, or I was posing the question to myself.

-Is your work  a form of therapy?
During the 90s I produced work that was about  what I was feeling-symbolic pictures of struggle, sadness-but they were vague and unformed, generic. To develop further meant I needed to discover what these feelings were about, and for me that involved a personal and educational journey, not an artistic one.
Even though my work conveys feeling, Art is not a form of catharsis for me. I need to rationally come to terms with my emotions  in order to make art .

-Is it a form of self expression?
Because what I lived through with my dad is entwined with my mind and feeling, because my  intellectual and emotional development was affected, this art is  an expression of who I am even though the work is also about the lives of others. I think it is more an act of remembrance. My work takes what I deeply feel about war and holocaust and gives it shape, form and context, like a memorial does but in drawing rather than sculpture or architecture.



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Here is artist Clare Thomas with my installation of her work. Clare’s drawings are about the fragility of memory, and are being shown in the Stairwell Gallery– a space at St Philip Church which is set aside to show art, and which I have the privilege to curate.  It is wonderful that the minister, Christopher Page is so supportive, and the congregation appreciative of emerging, experimental and contemporary work. Art doesn’t have to be religious in order to be a sacred expression of life.

(The gallery is open for viewing 9am-noon, Monday to Friday and by appt on Saturday, and if you don’t mind the hubbub of church- on Sunday mornings as well.  At 2928 Eastdowne at the corner of Neil street, Victoria, BC, Canada.)

artful weekend

Well, now to do the dishes! I had a fulfilling weekend with wonderful art and artists. Yesterday, an afternoon with the gorgeous Jill Ehlert and Natasha van Netten; this afternoon, installing the work of 3 artists in the Stairwell Gallery at St Philip. ( more pictures to come )

mother mary

Mary Mary ( Quite Contrary ) 2007, 38″x 50″

At the time of the massacre of school children in Chechnya, a grieving mother I saw in the paper became my Madonna. Later I added her to a large drawing I made about the children of the Holocaust.
Mary has come down from her heavenly position where traditionally she holds the baby Jesus aloof from us all, and is instead on the ground on the broken earth amongst the children.
The two little cherubs were part of a group of children in the Ukraine who’d been penned up by branches ( the structure in the back ground.) They had been photographed, apparently just before being shot; all were smiling except for these two. I wanted to honour them somehow and then thought about the Raphael cherubs and so set them at the bottom of the picture in protest.
So many stories from WW2 focus on soldiers and battle; I want my work to reflect the reality and sadness of what happened to women and children without losing sight of compassion.
This piece is important to me because it was the first time I understood what my art wanted to be.

small worries

I had gone to bed worried about 2 things :

1) Is my work large or dramatic enough to say anything about war? Many drawings are small, in size  and in subject: mothers and children who were close to home and did not have the ability or luxury to think in terms of the big picture.

2) Why am I putting out work about war and not work that is more obviously what people might want to buy, or about the beauty of the world or work that is easier to look at, I love abstract and sketching from life, why am I not leading with that?

In the morning I read an article about June Leaf.  Learning about her work seemed like a reply to my worries. Her work is small, it was close to home, yet it contains the whole drama of life. Both June Leaf’s work and this quote from the article reassured my doubts about my work:

“When you ask an artist why they make work, they might respond with: “because I have no choice”. For people outside the art world this doesn’t always make sense. Artists are referring to an inner drive that compels them to make work. This explains why artists might make art despite no evidence of exhibition or sales. People start off making art for all kinds of reasons: pleasure, amusement, approval, fame and money to name a few; however, what keeps them making work over an extended period of time is usually an inexplicable need to create.” ~ Wendy Welch

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June Leaf, Woman Carrying Infant Upstairs, 2011, acrylic on paper on tinplate, 11 x 12.5 inches.

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