Lost - final prints

With many thanks, I received an Agility Award from the Arts Council of Ireland-An Chomhairle Ealaion in the fall of last year for the research and creation of a new series of monoprints Lost. While I began research immediately, the prints didn't start taking shape, ie, I wasn't satisfied with the results, till the beginning of March this year (2023). I have previously posted finished pieces here, here and here and now I will show the final works in the series.

My parents fulfilled their long-cherished dream of returning to Ireland in early June 1983. Since I had grown up with them saying this every year since I could remember (they had emigrated to Toronto in the late 1950s) it was actually a surprise to their children that they actually finally did so. 

Taking a break from packing up their home, monoprint, ink on Japanese mulberry paper, 12.5 cm x 18.5 cm

In the early years, Christmas was an occasion for song, monoprint, ink on Japanese mulberry paper, 18.5 cm x 12.5 cm 

I have many good memories of my best friend's parents who really did treat me like one of their own always making room for me at meals and providing me with a place to sleep when I was homeless. They were also great fun at video film nights, card nights, birthdays and other special occasion celebrations.

 

They were just like second parents but also good friends, ink on mulberry paper, 18.5 cm x 12.5 cm

Although I had lived in several other houses in Toronto in my early years, it was the house on Kingswood, in The Beach area of Toronto, where I spent most of my growing up. The front porch featured in many of the games we played with neighbourhood kids in my childhood. It was also a great place to sit inside on a muggy or stormy summer in the city night and still have a connection to the outdoors.

Young friends described it as a big house, but with twelve occupants, the three bedroom/one bathroom didn’t seem large at all, ink on mulberry paper, 12.5 cm x 18.5 cm

The Toronto skyline has certainly changed a lot since this memory of it from the late 70s/early 80s, before I realised it wasn’t always going to be my city, my home.

Even though the ferry ride took only fifteen minutes, from the islands the city always seemed distant, ink on mulberry paper, 12.5 cm x 18.5 cm

This is the penultimate print from Lost series of contact monoprints and a tribute to my great friend, Jay Dampf, who died far too young, several years ago.

On the long bus journey of the first art school trip to NYC, he brought home-made instruments and led everyone in song, monoprint, ink on Japanese mulberry paper, 12.5 cm x 18.5 cm

I had nearly finished the series when I realised I never posted any in-progress/technique images! So here is the aftermath of making a print for this series. It took many attempts to get this one right (more than any other print) before I was finally happy with the image of mother and child.

She hoped I would smile at the person behind the camera, monoprint, ink on Japanese mulberry paper, 12.5 cm x 18.5 cm, 2023. 

Pow Wow in Winnipeg!

Definitely one of the highlights of my short trip to Winnipeg was having the honour of attending the fantastic opening ceremony for Manito Ahbee 2023 – an annual Indigenous cultural extravaganza that is province-wide. 

The regalia, dancing, drumming and singing was amazing. Unfortunately I have not mastered the video function on my phone and didn’t take any still photos, so these are low quality screen grabs. Luckily the Manito Ahbee Festival has it's own website with plenty of videos, pictures and information here.

My previous blog posts about my time in Winnipeg, including Indigenous Feminism, public art, The Forks and Winnipeg Art Gallery-Qaumajuq can be accessed here, here, here and here.

Winnipeg Art Gallery

Though it seems ages ago that I was in Winnipeg, it was just over a month and I am still thinking of that wonderful visit! As well as Inuit Sanaugangit: Art Across Time, which I posted about here, I also saw other exhibitions at The Winnipeg Art Gallery-Qaumajuq. 

There was an exhibition of the 2023 Kenojuak Ashevak Memorial Award Shortlist Artists. All the shortlisted artists were female and all were Indigenous.  I particularly liked the work of Ningiukulu Teevee, though since they were behind glass it was very difficult to photograph them.

This is a detail of one, which gives a better idea of the texture in the drawing.

In a lobby area on the second floor, several large works by Ivan Eyre were displayed on the walls flanking the stairwell. Although Eyre was born and grew up in Saskatchewan, he moved to Winnipeg in the early 1950s and taught painting and drawing at the University of Manitoba for 33 years until he retired in 1992. Eyre died in 2022,

This is a detail of the previous large panoramic landscape.

In another gallery room were several installations by Faye Heavyshield. It is difficult to get a sense of her work in a small photograph but each of the floating pieces are human-size. Another wall installation, my favourite actually, was unphotographable in that each part of the whole needed to be examined and an overall picture would not give any sense of the work at all!

Other posts I made about my time in Winnipeg can be found here and here.

The Forks, Winnipeg

Walking around The Forks area in Winnipeg (oh so many weeks ago now!) in search of Indigenous feminist public sculptures (which I posted about here), I had to cross the pedestrian bridge over the Assiniboine River. Looking up I noticed a brightly painted bicycle; I figured it was a piece of public sculpture, but could find no information or artist credit anywhere. I wondered about the large area behind it too, but when I continued walking ...

the mural, by Mike Valcourt was revealed.

The heritage marker for the Red River was a fascinating sculpture that required close inspection .I should have taken some more detailed pictures at the time, because I could find no information, artist credit or pictures when I googled it later (I thought I would). 

The pedestrian bridge was a perfect spot to view the smaller Assiniboine River meeting up with the larger Red River. Across the water is St Boniface, a predominantly French-speaking area of Winnipeg, where Canadian author Gabrielle Roy grew up.

 

Indigenous Feminism

 The day after I arrived in Winnipeg, I attended a fabulous workshop/lecture Indigenous Feminisms through Visual Art at MAWA (Mentoring Artists for Women’s Art). Dr Suzanne McLeod led the group through an inspirational history of Indigenous feminism discussing both past and current work by Indigenous women artists. One of the contemporary artists discussed, KC Adams, who had a public sculpture at The Forks in Winnipeg and I took the opportunity to see it in person. 

Niimaamaa, the title of this collaborative piece, means “mother” in Cree, Ojibwe and Métis languages. It is an outline of a pregnant woman, apparently the first time this subject has been depicted in public sculpture in Canada. 

It is a mixed metal work representative of motherhood and Mother Earth. This sculpture is a collaboration between three Indigenous women: KC Adams, Jaimie Isaac and Val Vint.

Further along the pleasant walk at The Forks one comes across the sculpture Education is the New Bison by Val Vint. 

It is a mostly corten steel sculpture composed of “books”with laser-cut author names and titles that are important to Indigenous culture.

The bison is created from books written by Indigenous authors or allies.

Further along yet again, lies the inspirational corten steel piece by Jaimie Isaac The 8th and Final Fire. 

The tipi-shaped flame at the front continues as a series of echoes as one walks around the sculpture.

The plaque (in several languages, though I have only included the English words) gives a full explanation of the thinking behind the sculpture.

Inuit Sanauganit: Art Across Time

While I was in Winnipeg (Canada) recently, I went to The Winnipeg Art Gallery-Qaumajuq to see the amazing exhibition Inuit Sanaugangit: Art Across Time. 

The huge exhibition included work by artists spanning from 200 BCE to now, so we decided to start in the smaller, top floor gallery and work our way down. There were a number of sculptures here and walking space around each, in order to view in three dimensions.

The mezzanine-like top floor gallery, allowed me to look down on the main gallery. This view shows only a portion, maybe a third, of what awaited!

The catalogue of work, names and years was far-ranging and included finely decorated weapons, such as this bolus

detailed drawings on horn bone

and utility items such as pipes. It also contained traditional textiles, such as clothing, and I enjoyed earwigging on a school tour to hear some stories and facts related to various works.

This is an enormous exhibition that encompasses Inuit art forms from 200 BCE to now, so it contained traditional older work as well as contemporary work by Inuit artists. 

The catalogue accompanying the exhibition was so huge that it was impossible for me to keep track of new vs old work and artist names.I was always glad of the careful spacing of sculptures, allowing the viewer to see it easily from all vantage points, especially larger ones, such as this, which changed so drastically from one side to the next.

The exhibition included sculpture, drawing, painting, textiles (tapestry and clothing) as well as printmaking. Having recently taken a Japanese woodblock printmaking course. which I blogged about here, I was delighted to see the woodblock displayed with the print allowing me to examine the registration marks and carving techniques. The woodblock carving itself being seen as an artform always makes me think of Canadian artist Paterson Ewen, whose paintings I greatly admire.

Gatineau - outdoor artworks part 3 of 3

At the end of July, when I was in Canada again, I strolled the downtown area of Gatineau (this area was formerly known as Hull) on Le sentier culturel to see outdoor sculptures, murals and artistic interventions. This is my third post about the cultural trail and my previous posts may be seen here and here.

“Mères au front” and “Flȃneries” were two pieces that worked together in the single space of an otherwise disused and overgrown lot 

Each artwork had a nearby didactic in both French and English, which gave the title of the work, artist's name and link (if applicable) as well as a brief explanation of the work.

Often on the nearby footpath a colourful marker acted as a reminder of the nearby artwork. I was pleasantly surprised by the lack of vandalism along the trail. Small perspex/plexiglass holders containing free colour brochures that included a trail map could be found near every artwork.

The colourful abstract mural on this building was certainly eye-catching!

I was especially drawn to the painted corner bricks.

I wasn't particularly impressed by the mural on the side of this container building, but I was again impressed by the lack of vandalism! The container had an end entrance that lead to a mini cinema where a video was playing on a loop. One could sit down and watch the video or simply take a peep.

A short walk to the edge of the canal brought me to another sculpture and works that could be seen across the water.

Although this picture shows another artwork across the canal, I was more interested in the reflections and the architecture...

There were many murals along the trail, but this one, by Dominic Laporte, was my favourite. It was painted as a tribute to the historic textile industry of Hull (downtown Gatineau) and the women textile workers.

As well as being an explosion of colour, what I especially liked was that from a distance the mural appeared to be tightly painted, yet from a closeup point of view the solidity seemed to disintegrate (as with the ethereal loom) and

the painting technique was incredibly loose as colours dripped into each other. Further information on the art trail and the artists involved can be found on Le sentier culturel website.

Gatineau - outdoor artworks part 2 of 3

While I was in Canada in July, the last leg of my trip was in Ottawa. I spent a day walking Le sentier culturel (the culture path) in Gatineau across the river and I saw so much artwork that I figured I had to devote several blog posts to it; this is the second and the first is here.

This mural was designed by José Guénette as a reminder that the area has a history of being ravaged by fires, but also a reminder of the major (past) employer of the area, the EB Eddy Match Co. The children - of any time - act as witnesses to the events of any era. These particular children could easily represent children of employees from a century ago or children now.

Place Aubry is a small pedestrian area in the middle of the downtown core. Walking in from the street I was drawn to the faux fountain where various colourful animals appeared to be drinking.

 M Chadid's Havre de paix provided a colourful comment in three dimensions wondering if even predators can live together in peace with their prey.

I could hardly miss the flock of butterflies soaring in the space between the buildings!

Samuelle Desjardins' Des ailes pour notre région (Wings for our region) took flight overhead!

A short block away there were several more murals. The jazzy covering of a complete building is a celebration of this area’s past as “Little Chicago” (though according to Wikipedia this is due to crime in the area around the time of Prohibition). 

This past is brought to life by Philippe Landry and Marin Mitrasinovic.  

Although this building mural was also lively and colourful (and next door to the other one!) it was NOT part of the cultural trail so I do not know who the artists were.

Kitty corner to this was Mitrasinovic’s solo mural, “Pop 60”, to my eyes interesting but not as rich or lively as the jazzy one she did with Landry.