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A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBRIDGE (AAC)

ARTS BRIDGE

artslethbridge.org “A Vibrant Arts Community Enriches Lethbridge” artslethbridge.org


directors message

When smart people speak, you take pleasure in the moment.

A man named Peter Sellars* - no, not the dead actor - asked an audience this simple question (I am paraphrasing): “How would you make art stick in a community?” And then he said “Step 1 - Imagine a world you want to live in. Step 2 - Create that world. Step 3 - Live in it.” From my perspective Mr. Sellars simply and eloquently hit the proverbial nail-on-the-head. And on top of that, I know Lethbridge is an inspiring example of a full arts community. So, I thought, why not give Mr. Sellars’ step-by-step exercise a whirl.

step1Imagine a world you want to live in

318 . 7 Street South Lethbridge, AB T1J 2G2 T: 403.320.0555 F: 403.320.2450 info@artslethbridge.org www.artslethbridge.org Administration Suzanne Lint Executive Director Teresa Ternes Special Events

Fifty years ago it was never a question of whether the arts would inform the growth of Lethbridge. It was simply a question of when. That was the cue for the AAC to take shape with a collection of sixteen arts organizations determined to unleash the arts in Lethbridge. And unleash they did. On introduction, the arts established their presence quickly and assertively. Audiences welcomed musicians, dancers, vocalists and authors. They gathered in community halls, church naves and most proudly at the Yates Memorial Centre. First, the Buchanan Collection and later, the University of Lethbridge Art Collection amassed invaluable original artworks that, today, rival international collections.

step2 Create that world Their names are synonymous with legions of Lethbridge youth: Muriel Jolliffe, Joan Waterfield, Ed and Linda Bayly, Dr. Robert Hironaka, George Mann, Joan Stebbins, Dr. Bob Cook, Brian Parkinson, George Evelyn, Bryan Tyson, Elaine Harrison, Dr. Van Christou. They are but a few whose patience and forbearance grew an arts community rich in talent. That we honour their dedication we, too, embrace the legacy that is now ours to enjoy as audience, patrons or professionals.

step3 Live in it Lethbridge is a superior model of a mid-sized North American city where the abundance of practicing artists equates to the sheer number of arts experiences, experiences that we have the privilege to encounter on a daily basis. The pages of ArtsBridge Issue 2 welcomes a handful of those practioners. David Hoffos - he of an internationally thriving visual arts practice - collaborated with our ever-present graphic designer Maya Ichikawa to create a construct of ‘Summer in the City’ which graces our cover. Galt Museum & Archives President/CEO Susan Burrows-Johnson provides a thoughtful piece placing family, history and the museum experience in the fore. Billy McCarroll - the painter, jazz afficianado and superb golfer - talks about his great loves. And musician Jonathan Dean notes the intertwining of music and life.

Jana MacKenzie Office Services & Finance

Programming Claire McNab Education Services & Facility Services Darcy Logan Gallery Services

Board of Directors PRESIDENT Barb Cunningham VICE PRESIDENT Ron Brown TREASURER Mike Thiel SECRETARY Elizabeth Songer DIRECTORS Christopher Babits Carolla Christie Shirley DeBow Rick Gillis Tyler Gschaid Kathy Lewis Martin Oordt Les Ostrowski Ian Randell Kim Siever Gloria Torrance

With the halcyon days of summer soon upon us the AAC invites you, your family, your golf foursome, your fishing buddies, your lakeshore pals - everyone - to enjoy a quality arts experience this summer. And if the summer flies by, dive into the arts this September with the launch of the cultural season including ArtWalk 2008 and the Mayor’s Luncheon for Business and the Arts. It’s what Mr. Sellars suggested: Just three easy steps. Come, walk with us. Suzanne Lint Executive Director *Lecture presented by ACAD’s Stirring Culture 2: A Time to Act speaker series (03.11.08)


THE AAC

RAY JOLLIFFE

ArtTracks

PROVIDES

Everyone involved in theatre production will know the flurry of unseen hands, the hushed footsteps and the exacting attention-to-detail as traits of the technical personnel. Mr. Ray Jolliffe exemplied the theatre stagecraft ideal. His technical prowess was bewildering in its ability. Together with his amiable lope and candid good cheer, his arrival on stage was always reason to smile in greeting and gratitude knowing that today’s production design was tomorrow’s stage.

& THE ARTS

The Ray Jolliffe Memorial Scholarship was established by the Jolliffe Family in 2008 to recognize the contribution of Mr. Jolliffe in the field of theatre production in the community of Lethbridge. Ray Jolliffe was an active member of the Lethbridge Theatre community for more than 40 years and his work backstage was instrumental in bringing untold productions to life. Ray was willing and able to handle many aspects of creating the magic of theatre. His work was a wonderful example of how the commitment of working behind the scenes is as rewarding as being on stage.

LEADERSHIP IN ADVANCING ENHANCING IN LETHBRIDGE

The Ray Jolliffe Scholarship is a legacy of Mr. Jolliffe’s contributions to the arts. The annual Jolliffe Scholarship is valued at $1,000 per fiscal year and will provide financial support to a student pursuing study in the field of “Theatre Production Design and Management” and/or “Television Production and Design” at a recognized Canadian post secondary educational institution. Application for the scholarship is open to Canadian students, who were born, raised or are presently resident in the geographic area from the County of Warner, west to the British Columbian border and Vulcan County south to the United States border. For further information on the Ray Jolliffe Memorial Scholarship or to receive an Application Package please contact the AAC office.

NEW & RENEWED MEMBERSHIPS 03.01.08 > 06.20.08 ARTSBRIDGE ISSUE 2 July 2008 Publisher The Allied Arts Council of Lethbridge Managing Editor Laura Kenwood Design & Production Maya Ichikawa Cover Concept, Collaboration, Photography David Hoffos Printer University of Lethbridge Print Services Distributors The Allied Arts Council of Lethbridge The Lethbridge Herald City of Lethbridge, Community Services For additional copies contact the AAC office No part of this publication may be reproduced without the written consent of the publisher.

Individual > Richard Aberle . Wendy Aitkens . Jerry Arnold . Christopher Babits . Catherine Baiton . Marion Broughton Brad Brouwer . Ron Brown . Elizabeth Byrne . Monica Chapman . Marcella Cooper . Ivy Corns . Glenn Coulter Louise Cormier . Ed Crowe . Andy Davies . Phyllis Dedekam . Dennis Delaney . Amrita Desphande . Al & Wendy Desjardins Barb Doyle . Ian Dunlop . Julie Duschenes . Rosemary Foder . Maureen Furtado . Donna Gallant . Stephen Graham Lorie Gray . Tyler Gschaid . Jane Harris-Zsovan . Elaine Harrison . Marukot Honorio . Mariette Jacobson John & Rose Kastelic . Rhonda Kupsch . Marlene Lacey . Allyn & Linda Langager . Andrew Lint . Lela Martens Dave McCann . Cecile McCleary . Ghislanna Merrifield . Jill Moloy . Denise Morrison . Beth & Jim Moyer . Les Ostrowski Laurie Parsons . Alex Pavlenko . Gerald & Birthe Perry . Sharon Phillips . Celeste Pryde . Deb Rakos . Krista Reich William Semenoff . David Short . Kim & Mary Siever . Chris Spearman . Donald Stewart . Bernard & Frances Stillwell Mike Thiel . Ian Thompson . Gloria & Stanley Torrance . Lynn Urban . Stuart Walker . Donna West Dan & Karen Westwood . Glenna Westwood . Marica Wierda . Donna Zimmerman Allied > ACFA Regionale de Lethbridge . Blackfoot Canadian Cultural Society . Gallery Potemkin Artist Collective Jazzerwocky . Jolliffe Academy of Dance . Kiwanis Music Festival . Lethbridge Artist’s Club . Lethbridge Centennial Quilters Lethbridge Folk Club . Lethbridge Handicraft Guild of Weavers . Lethbridge International Film Festival Lethbridge Registered Music Teachers . Lethbridge Scottish Country Dance Club . Lethbridge Senior Citizens Organization Lethbridge Symphony Association . Lethbridge Society of Stained Glass Artisans . New West Theatre Nikka Yuko Japanese Gardens . Oldman River Potter’s Guild . Playgoers of Lethbridge . South Country Fair Southern Alberta Artist Association . Textile Surface Design Guild . Trianon Gallery . Vishwa Nirmala Dharma Educational Society Associate > Actors Academy Inc. . Ammena Dance Co. . Fall Into Christmas Fine Arts & Crafts Sale Ferrari Westwood Babits Architects . Puddle of Mud Theatre Productions . The Center for Board Development Torry Lewis Abells LLP . Wall Décor & More Honorary Lifetime > Doris Balcovske . Dr.Van E.Christou . Karen Kay . Clare Malmberg The Allied Arts Council of Lethbridge is a registered non-profit organization operating on behalf of its membership and the public-at-large. The Allied Arts Council of Lethbridge provides leadership in advancing and enhancing the arts in Lethbridge and conducts its business and related activities with two primary goals: (1) to provide its membership with broad access to new publics and (2) to provide new publics with on-going, uninterrupted access to its membership. The organization is supported by its members, corporate and private donations and annual fundraising activities. Funding support is gratefully received from The Alberta Foundation for the Arts and The City of Lethbridge.


Musings of a Philatelic Musician

Of History and Museums

I cannot remember a time when I couldn’t read music. Even when I was six years old I was always given a song book and made to follow the melody. As I grew up I was as comfortable reading musical notes as I was with the printed word. It was like a second language to me. I sang in music class, choirs and glee clubs; I played my clarinet in orchestras and bands as often as I could in order to assuage my musical appetite. Today, the enjoyment of singing and playing in a communal music group is, for me, as great as it was fifty years ago. After all, singing is good for you! It challenges my brain, my breathing and my vocal chords. But I still thrill to the repertoire of large-scale choral works and today I sing with Vox Musica because there is so much more music yet to be sung. I played in the Lethbridge Community Band for the first ten years of its life and, if you can sing, you should be able to play a musical instrument. I was always challenged to give my best performance and I can still remember my excitement when I was asked to perform a solo with the Band. Now I am associated with the Band in another way – helping to plan the concerts during the year. So what does one musician do when he is not out singing or playing a musical instrument? Being golf-challenged – there were no facilities for left-handed players when I was growing up – my earliest hobbies involved collecting things. In the days of the 1950s, television was only a dream in our house. So it was either learn to play the piano, collect something or do sports. I collected a lot of things; stamps were just one of them. There were a lot of stamps being used on mail in those days. And there were always the aunts and uncles who gave me packages of stamps as Christmas presents. In fact, the very first stamp I put into my album was a Canadian stamp which I stuck in with – glue! I soon learned better. I’m as passionate about stamp collecting as I am about music. Stamps are a microcosm of art and design. There are many stamps on the topic of music but I haven’t been tempted to collect only music stamps. Sometimes circumstances start me off in another collecting direction; a stamp mistakenly bought at a stamp auction; a particular portrait of a queen on a stamp; a niece with a name the same as a country. People often ask me “What’s your collection worth?” To me it is worth all the time and effort I have put into it and it is worth all the pleasure I receive from it. Just like my music.

My motivations for museum attendance have changed over time. I have gone many times as part of my parenting role. And I understand the importance of history to my community but museum-going has changed for me.

Jonathan Dean is a member of Vox Musica. He is also an avid stamp collector.

When two (or more) of my three boys would come running in from outside to seek assist in settling some injustice, they clearly understood that history matters. “You pushed me first… I did not.” The history is important. As a parent, when I took my young children to a museum, I believed I was building knowledge for my children and spending quality time with my family. Some ancient cultures devoted much time and effort to teaching their children history. It was thought that understanding the past helps a child understand who he or she is. It sheds the light of the past on today, helping children to understand self and their surroundings. History encourages a sense of proportion about life and helps in decision-making. History recounts important stories of people who can serve as models of who to be, and who not to be. History recounts stories of events, what to be involved with and what to avoid. History can serve as the basis of decision-making all our lives. It does more. History makes one’s life richer by giving meaning to the books one reads, the cities one visits or the music one hears. It also broadens one’s outlook by presenting the spectacular drama of the making of the modern world. History can show us the world and in those contrasts, history can preserve the traditional and cultural values of our community. Today, museums educate, stimulate and empower individuals. We collaborate with our visitors who may develop their own sense of heritage and connectedness. I believe that we are vital in building community. We can foster social cohesion. Like the vast percentage of people, I have rarely gone to a museum alone. I go to find out information, and sometimes to build new knowledge. A recent study in the US indicated more people are attending museums than sporting events. Like those people, I attend museums to enjoy myself.

Susan Burrows-Johnson is currently the CEO/ Executive Director of the Galt Museum & Archives.


How to Play a Winning Game Your Natural Way: A DIALOGUE WITH THE CATALOGUE When asked to write an article on the subject of golf and art I was reminded of a statement by Matisse in the forward to a catalogue that went something like this: ‘You can’t always trust an artist to tell the truth about his/her work’. Perhaps what he meant was the proof is in the pudding. It is curious the marriage of art and language. In the numerous lectures and presentations in the Visiting Artist Program, presented by the University of Lethbridge Faculty of Fine Arts, I have seen the most interesting work talked about in the most uninteresting way as well as dull and uninteresting work talked about eloquently. So with the fear of boring you, I have decided to go back and reread two catalogue sources, the first by Jeffrey Spalding and the second by Peter White. If you become bored, at least I can share the blame with these two intelligent and witty writers. I guess it’s time for this threesome to tee it up and have a go at it. Fore! You’re up Jeffrey. *J.S. > Writing about McCarroll’s art, you sense the need to give some accounting for the improbable match of golf with art. After all, willingly associating oneself with golf, a pastime analogous with leisure and privilege, does not come naturally for the serious of purpose deconstructively inclined. Golf, agit-prop [agitation propand] counter culture and anti-establishmentarianism make for a strange foursome indeed. Yet much of contemporary criticism acknowledges that this is the preferred course to be followed. The role the artist plays in unveiling and critiquing decadence in society in the interest of collective improvement, is the yardstick often used to measure art practice. McCarroll’s target for satire and improvement (if there is one) is himself and his world. Making McCarroll’s work land safely within comfortable bounds of current critique has forced some writers through some unnatural contortions. They search within McCarroll’s work for evidence of poignant metaphoric rebuttal of angst-ridden contemporary life. McCarroll’s art has incorporated images and text from Sam Snead’s Natural Golf in many different manifestations since 1983. Some writers perceive in McCarroll’s quotations from the source, and acceptance of the tenants of appropriation. With this understanding might also come the implication of a concomitant rejection of the relevance of the concepts of authenticity, originality and authorship. Peter White in his entertaining and helpful essay for McCarroll’s exhibition at the Dunlop Art Gallery makes a valiant effort to wrap the art under the banner and protective cover of current thought: “...McCarroll fully participates in our collective debt to Walter Benjamin, godfather of postmodernism. Whether it’s called quotation or appropriation, Benjamin understood

that in less than humanist times, the revelatory expressions and representations of the ego-centered self pale beside the critical, reflective manipulation of already existing materials.” (unpaginated exhibition folder, Dunlop Art Gallery, 1986) Nice ball Jeffrey, it went right down the middle. OK Pete, you’re up. Give it a whack! **P.W. > As a game whose angst is out of all proportion to its worldly importance, golf offers a continuously humorous counterpoint to the inflated seriousness of much recent art. More important, notwithstanding its fascination for the literary set, golf is a game with overwhelming middle class associations in North American society. Think of the Bermuda shorts, the polyester, or the culottes. Think of all those young blonde Republican touring pros. Think of pay as you go public links. Goodness, think of Caddyshack. Compared to art, at least according to the terms of this particular discourse, golf is utterly without pretense, or apparently, redeeming social worth. Which is precisely the point. A wonderful and crucial irony of McCarroll’s work is that an activity that is seemingly inimical to the concerns and values of high art and culture turns out to provide an excellent vehicle for the examination not only of many of life’s most pressing issues but also those of art. McCarroll’s dialectics are not, however, entirely negative. While he may be putting a deconstructive touch on the world of art, he also proposes if not exactly a solution then certainly a possible direction. Simply put, it is the central metaphor of the work: to play a winning game you have to play your natural way. For Sam Snead, who as a golfer was the exemplar of the natural, the natural game raised the issue of the manufactured shot. For McCarroll it means not excluding important question, but, rather, dealing with them on one’s own terms. It also implies a kind of personal honesty that is a real challenge in a world that is troubled on the one hand, on the other seemingly driven by hype and ambition. It also means that in the relative isolation of a regional centre such as Lethbridge, the southern Alberta city that has been McCarroll’s home for many years, the world does not necessarily have to look the same as it does in major urban areas. Finally, playing a natural game does not mean you will stay completely out of trouble. It will simply improve the odds. “If neither work nor play, if more pain than pleasure but not necessarily either, what, then, can golf be? Luckily, a word newly coined rings on the blank formica of the conundrum. Golf is a trip.” John Updike 1973


Wow Peter! Another well-struck ball. Well, its my turn. Relax no negative thoughts: Just be the ball Billy.

‘After all is said and done, I must remind myself that I am making a painting, I feel good about the painting, I have done it in my style’.

In 1983, I received the gift, a how-to book authored by Sam Snead titled How to Play a Winning Game Your Natural Way. It came to me by way of that fabulous Calgary artist John Will. This simple publication (Dell Books) contained many simple almost cartoonish drawings of Slammin’ Sammy Snead. This small dogeared book, with its amusing text, lay around for awhile before it occurred to me: Hey, these pages would look good if blown up and hand coloured. The first two prints were created at the Banff Centre print studio in 1983. Six more prints were done in Lethbridge, and the suite The Golf Lesson was complete. From there, things just took off. If the prints looked good, why not larger than life paintings. At first I didn’t think the work would receive much attention but an exhibition at Calgary’s Off Centre Centre in 1984 was received well and a follow-up exhibition was scheduled for the Dunlop Art Gallery in Regina. Apparently I had a subject. Morandi had his bottles, Cezanne his oranges, and I my Sammy Snead.

We no longer felt an isolated small urban centre as mentioned in Peter White’s essay. The artist, the art and the exhibitions were coming to and from Lethbridge to a greater degree than Edmonton and Calgary. It was a very exciting, stimulating time and had a great effect and influence on my work.

Other important events during that period were the arrival of Jeffrey Spalding, as a teacher and director of the University Art Gallery and later John Clark, a fine painter and teacher as well. Our studios were all on the same level, and it seemed the doors were always open or cracked, possibly because we were all using oil and in Jeff’s case there was often a liquine cloud hovering outside his studio. From Lethbridge, a group show of our work was shown in 1987 at Calgary’s Stride Gallery. It was a good time: There was a lot of energy, excitement and a strong sense of place. It was about that time that Janet Cardiff was brought on staff. Soon after that we were greatly saddened by John Clark’s tragic passing, a huge loss and blow to family, friends, the University and community. During that period the University of Lethbridge Art Collection was growing beyond anything we could ever have imagined. Immendorfs, Hockneys, Warhols, Curnoes, Snows - major works by contemporary Canadian, American and International artists it seemed were arriving daily. It was like Christmas. Many an afternoon impromptu sessions with students, teachers, staff and visitors would happen in the gallery. Which brings to mind a comment I recall by Jack Tworkov, the abstract expressionist painter, one of the founders of the New York School and Chairman of the Yale School of Art and Architecture. When asked what made for a good school, he replied ‘being close to major galleries and works of art’. The exhibitions at SAAG and the visiting artist programs were going strong. Patterson Ewen had been a frequent visitor. His traveling exhibition had been shown at SAAG and he spent a month here creating his mural as well as a visiting artist/ instructor one summer. One phrase remains in my head from the video:

Gee, I can hardly wait to get another game with you guys. *Jeffrey Spalding is currently CEO and President of the Glenbow Museum in Calgary. **Peter White is a freelance curator/writer living in Montreal. He recently co-edited with John O’Brian, Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art (McGill - Queen’s Press, 2007). Billy McCarroll is Professor Emeritus from the Faculty of Fine Art University of Lethbridge. He lives in Lethbridge where he continues his practice in painting, golf (he carries a single digit handicap) and the occasional jazz gig.


a cover construct

Artists discussing art with other artists never fails to provoke excitement for those within earshot. There is something at once embracing and formidable about their shared ideas and concepts as they take shape. That easily describes a feeling I had while I enjoyed a conversation with visual artist David Hoffos and graphic designer Maya Ichikawa. Several weeks later that conversation led to a rather remarkable afternoon. When we three first met, we knew that our mutual desire was to frame a community of summer activity; located in a familiar surround; one that engaged several layers of community living; and, one that was linked by the arts. We began with a rather quaint storyboard meant to elicit the current trends contemporizing all things vintage: wood-paneled Ford Country Squire station wagons, seersucker shorts, hula hoops, Ray-Ban sunglasses, the paper straw fedora. David suggested he produce a multi-framed photographic image - similar to an eliptical or fish-eye lens - while elevated 10’ - 14’ in the air. And so it was.

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CONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION

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Late afternoon Wednesday, May 14 a group of 57 people joined the AAC at Kinsmen Park as David and Maya rolled out their concept. Up went the scaffolding with David soon to follow. Troy is on the bike. Aaron and Jon Paul are playing bocci ball. Andrew is fingering tunes on the saxophone. Jana and her beloved Oma are seated on the park bench knitting and visiting away. The Momiji Dancers begin their elegant dance with the breezes. The clouds rolled, stalled, passed and allowed the sunshine through. All the while, David shot and Maya directed. It was an enlivening afternoon.

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o Other (Donation) Donations are tax deductible Cheques are payable to the Allied Arts Council of Lethbridge CREDIT CARD INFORMATION

David and Maya’s finished piece is a solid visual interpretation of AAC’s ‘Summer in the City’: A broadcloth of colour, movement, activities, family and friends. Enjoy yours. Laura Kenwood is the Managing Editor of ArtsBridge.

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Nominations&Highlights

o I am interested in becoming an AAC volunteer Please send me an application

JULY > OCTOBER 2008 NOMINATIONS AACE Awards Deadline > 30 June 2008

Presented Thursday 11 September at the 3rd Annual Mayor’s Luncheon for Business & the Arts. Awards presented in three categories: Individual, Business and Service Organization

Nominations accepted from all AAC Members Information: Teresa Ternes 320.0555 or teresa@artslethbridge.org

HIGHLIGHTS 3rd Annual Mayor’s Luncheon for Business & the Arts Thursday 11 September 2008 11.30am - 1pm The Lethbridge Lodge $50/person Tickets on sale 22 August Available @ the AAC office 320.0555

ArtWalk 2008 Friday & Saturday 12 & 13 September 2008 10am - 5pm each day Free Admission

Downtown Lethbridge will be awash in visual arts exhibitions, street performances & this year, an arts information exchange at the Lethbridge Public Library. Slip on your best walking shoes. See you there!


On Wednesday May 14 the AAC welcomed David Hoffos & Maya Ichikawa to collaborate on a construct of ‘Summer in the City’ at the Kinsmen Park. The AAC expresses its sincere thanks to and appreciation for everyone who accepted our invitation to welcome the summer, AAC style: Amanda . Kaareen, Matteo & Ava Caputo . Chyrel . Jennifer Davis, Berend & Jasper Klara DeBow . Brooke & Jim Day . Gary Dragland . Aaron Hagen . Colin & Audrey Hildahl . Marko, Sam & Lily Hilgersom . Aya Hironaka . Dr. Robert Hironaka . Julia Horvath . Bobby Hunt Andrew Ichikawa . Katrina Kellner . Brian Kenwood . Cecily Kenwood . Jon Paul Kenwood . Ming, Joyce, Kyra & Alex Lam . Patricia Lynch-Staunton . Dianne Marshall . Echo McCarley . Jana MacKenzie Troy Nickle . Elisabeth Pfeffel . Greg Polack . Beth, Lucas & Benjamin Puszkar . Karen, Kelly & Darren Rominuk . Rene & Erik . Ryan . Sarah . Stephen, Erin & Anna . Kaz Sugimoto Miyo Sunada . Suzanne & Sophie . Gaye Takao . Teresa Ternes . Robin, Corinne & Skye Thiessen-Hepher . Gloria Torrance . Moira Watson . Ron Watt . Esta, Fraya & Fritz - the dog squad


ArtsBridge Summer 2008