ART MAGAZINE
September - December 2024
GET TO KNOW LOCAL ARTIST MITCHELL VILLA
When did your journey as an artist begin?
I have been involved in art from a very early age. As a child, I had very supportive parents and was fortunate to be enrolled in classes and private lessons with local artists. These early mentors helped me develop a habit of creativity, and my interest in art just snowballed over time.
Describe a time in your artistic practice when you felt it was necessary to step out of your comfort zone in order to grow. What did you learn from this experience?
Stepping outside your comfort zone keeps the work fresh and interesting. Even small changes, like experimenting with new subject matter or techniques, make a big difference.
Making time for experimentation and studies is very beneficial because it introduces new ideas and perspectives. I treat painting like a puzzle, one that has an infinite number of options to achieve the end goal.
I am constantly trying to make each element of a painting come together in a new and exciting way. If there is something that I know is going to be problematic, I will workshop the idea in a series of studies to come up with the best solution.
Have you been involved in artistic residencies? If so, when and where did they take place?
In 2022, I attended a six-week residency at AiR Sandnes in Sandnes, Norway.
In 2023, I also participated in a four-week program at Monson Arts in Monson, Maine I discovered both residency programs through online research.
With thousands of residencies offered worldwide across various disciplines, finding one that aligns with your practice can be a challenge
Most residencies have an annual intake period and require an application and portfolio submission. These applications are reviewed by a committee, and selections are then made. Both residencies were incredible and immensely productive experiences.
I like to preplan all my work by preparing canvases and completing the underpaintings at home.
I ship my canvases rolled and place an order from Dick Blick for paint and supplies, ensuring everything arrives at the residency beforehand.
Villa at work on “Banquet” diptych during residency in Sandnes, Norway.
It’s nice to have everything ready so there is no fuss with preparation, allowing you to start painting immediately when you arrive.
During my time in Norway, I completed a large banquet diptych (100 x 139 inches) and a still life (57 x 75 inches)
In Monson, I slowed down a little and only planned for a large breakfast painting (54 x 72 inches) This gave me the freedom to focus on studies and develop new work inspired by my time in Maine.
The combination of a new environment, the removal of everyday distractions, and self-imposed deadlines created an ideal working experience for me.
How would you recommend fellow artists step outside of their comfort zones if they don't have the opportunity to travel or participate in a formal residency?
I would encourage artists to create their own at-home residency Set aside a week to focus solely on your creative practice. Remove as many distractions as possible, and immerse yourself completely in your work.
Villa’s “Breakfast’ created on residency in Monson, Maine
Villa’s “Still Life II’ created on residency in Sandnes, Norway
Studio space in Monson, Maine
Be transported by the power of magic through the artistic lens. Become enchanted and inspired by the magic that influences our artists to create, and dive into the wizardry of their paintbrush strokes, lens captures, and other creative pursuits. Come explore the magic created during this show at the Ladysmith Gallery!
EXPLORING OUTSIDE YOUR COMFORT ZONE: A MASTERCOURSE IN HUNGARY
by Adriene Jameson
“A ship in harbor is safe, but that is not what ships are built for.” – John A. Shedd
I come from a family of travellers: people who explore the world and who aren’t afraid to explore what the world looks like and how other people live. Imagine my delight when I found out that one of our very own Ladysmith Arts staff members was going to be having an adventure by doing a mastercourse in Hungary. Hungary! If there was a country that ever aligned itself with exploration, desire, indeed “hunger,” where else would you go?
I followed Francesca Reside’s trip to Hungary with great interest through her Instagram page whilst she was away, and when we decided the theme for this edition of the magazine was going to be “education through exploration,” I knew immediately I’d take the opportunity to go and pick Francesca’s brain about her trip
Where did you go?
Francesca attended a Residential Mastercourse at The International Ceramics School (Nemzetközi Kerámia Stúdió) in Kecskemét, Hungary
“Their mastercourses are week-long intensives where you immerse yourself in the topic from 9 a m to 5 p m each day They have a mastercourse almost every week,” Francesca explained
Choosing from the myriad of courses was a task in and of itself for Francesca “My class was called ‘Illustration on Clay,’ and it was instructed by artist Wendy Kershaw from the U.K. I looked at all the classes for all of 2024,
and this one spoke to me because I do illustration, and I felt I could grow with it It was affordable, and provided you with housing that was only a few feet away from the classes ”
What did you do there?
One of the ways people can feel comfortable with the idea of travelling far from home is to truly understand and begin to picture what each day away will actually be like. Francesca explained that The International School of Ceramics is a busy place of learning. “There are lots of things happening each week,” Francesca said. “They cover throwing techniques, kilns, raku, wood firing, molding, specific types of clays. During my particular course, I learned over twenty techniques.”
The International School certainly lived up to its name “They bring in artists from all over, so even though you’re in one space, it’s like you’re traveling internationally My group was a group of eight from all over the world, including the U S , Finland, the U K , and South Africa ”
While in Hungary, Francesca immersed herself in a world of ceramics, covering a wide range of materials and techniques.
“We worked with porcelain, regular white clay, terracotta, black clay, porcelain slips, different types of watering techniques, stencil design, inlays, and printing with paper onto clay,” she said. “Wendy showed an interesting technique where you create your own crayon to draw onto clay, and provided recipes to create these crayons at home ”
Francesca was also challenged by her own ideas about the functionality of ceramics “In North America, we’re taught to make our ceramics functional,” she said “It’s interesting to see how differently we’re trained in each country. You can see it in the work. I was noticing at the studio that it’s not about making mugs and bowls, whereas in Canada, people are learning how to make mugs and bowls in a very specific way. When Wendy showed us her technique, it was nonfunctional, no glazes; everything was similar to bisque-fired. She showed us how to use underglaze powders to create colours in work In ceramics, you have to use a clear glaze to make something functional ”
Francesca feels that the experience changed her way of creating art “I think it opened my mind because I was feeling stuck My mindset has always been ‘create a bowl or mug’ or something functional so it can sell This was more of an experiment of things that I enjoy It was about making art.”
Nemzetközi Kerámia Stúdió in Kecskemét, Hungary
How did you find out about this program?
While there are many ways to research and read up on residencies and opportunities to learn away from home, Francesca found that most artists learn about new opportunities from each other
Francesca explained that she found out about this program through Nanaimo Ceramic Arts “They have a residency program there,” she said “In August 2023, we had a resident artist from Germany, Carolin Mopedi, and she and I became good friends She said she was traveling, taking courses and participating in residencies. She had gone to the International Ceramics Studio in Hungary and enjoyed it.”
From there, Francesca picked Carolin’s brain about her experience, then researched the courses and made her selection
What did you need to bring?
Packing for a trip is hard enough when you’re going overseas, but what on earth do you pack for a course like this? Luckily, the course organizers made this easy for the attendees.
“Materials were all included, but you had to bring your tools. You could also purchase tools,” Francesca said. “The fee included the course, instructions, materials, accommodation, and firing The only thing you have to pay for is food, and there was a supermarket, mall and pharmacy nearby ”
What was the best part?
Francesca enjoyed the opportunity to meet new people “The best part was being able to meet people from other places because I find that maybe it’s a Canadian thing we sometimes isolate ourselves ”
She also grew in her own ceramic journey. “I feel like I was taught a oneway street: create work to sell. But I met all these people who had done pottery in different places and in different ways, and it opened my mind to how much more you can explore in terms of design and how you view ceramics as art. The question became, how can my experiences influence my work ”
Being a lone traveler was also an interesting experience “I was pushed out of my comfort zone
Left to right: Francesca engrossed in learning new techniques; examples of sgraffito and imprinting; tiles in progress
I was in a place where I didn’t speak the language, didn’t know the culture, the landscape It was a big shock for me, but I feel like it better prepared me for future programs like this ”
What was the most challenging part?
Despite doing research and talking to other artists who had experienced the course, there were still things that Francesca was not prepared for. “I was very unaware of what I was getting into You do have to do some research beforehand I’ve travelled before with friends who could speak the language I definitely think I should have been more prepared for the language differences ”
There were things that Francesca would do differently “I would map out my journey a bit more I was only there for a short time, and I wasn’t aware that I could stay longer. Some people were doing their course and then staying on to do a residency. I would plan to stay longer so that I could experience the area more.”
How can you pay for this?
The thing you can’t avoid about adventures is that there are always costs involved Francesca selffunded her trip, but while she was there, she learned that many of the other students paid their way by applying for grant funding from local and national arts councils.
“I was learning that a lot of grants had requirements of documentation: what you were learning, what you completed, maybe you had to teach something or put on a show,” Francesca explained “[The awarding body] have to report on what they gave and what they got out of it ”
Being around an international group also gave Francesca the chance to learn more about other opportunities “My group had lots of questions about residencies available in Canada and elsewhere We have a group chat that we contribute to now One person in the group was very open about her disability. She got a grant to attend the course and have someone who could help her as well.”
“You can also get more information from the Canada Council for the Arts and BC Arts Council. They have grants for professional development for artists.”
What if you’re too nervous
to try it out?
International travel may not be for everyone. You may be too nervous to do something so far afield. Francesca had some advice about that. “Look for opportunities in your community. There are usually options for local residencies or longer intensive courses. If you’re not sure if a place offers these, reach out Sometimes they may accommodate you if you have a direction you’re interested in pursuing, even if they don’t offer a specific program
She also encourages people to consider ways of learning that don’t involve long investments of time “Some may be as simple as attending a weekly class Others may ask for you to create a body of work, instruct a class, or host a show but without as much travel, and you might work with people you already know.”
“I am not ready for another big trip, but I am considering doing a residency at Nanaimo Ceramic Arts. I have a direction I want to go, it’s close to where I live, and I would be around people I already know. The owner, Bronwyn Arundel, is also very open to accommodating how an artist wishes to do their residency
What was your takeaway from the experience?
Francesca came back with more than just the skills she learned in her masterclass. “I’ve learned that you can’t come in with the expectation that at the end of the week everything has to be perfect. It’s going to be a continuous journey Each piece I brought back has a mark on the back to show which technique was used When I brought it back, that’s what interested people: what did you learn and experiment with ”
Francesca attended her course at the International Ceramics Studio in Kecskemét, Hungary For more information, visit: www icshu org
Left to right: Using paper resist; a cup made by Francesca using some of the techniques from her course; the warehouse at the International Ceramics Studio showing work from previous visiting artists.
Immerse yourself in nostalgia. Explore sentimentality, remembrance, and recollection through the power of art. Let wistfulness transport you to another time or place. Take it all in, and reminisce with us during this show at the Ladysmith Gallery!
Artist in Residence Road Trip Across British Columbia
Exploring artistic opportunities across B.C.
By Megan Cawthorne
Artists often look for inspiration in their everyday lives, but spending time outside one’s routine or creative space can bring fresh ideas, ignite imagination, and spur on artistic expressiveness.
Are you looking for opportunities to expand your artistic practice? Then an artist residency might be just the opportunity you’re looking for.
What is an Artist Residency?
An artist residency, or artist in residence, can vary a great deal in terms of what is offered, but generally they present opportunity for artists to be inspired, to come together, and to create in specific locations and artistic disciplines
The duration of these opportunities can be days, weeks, or months, and artists will often create art based on their experience in the location of the residency.
Artist residencies can be hosted by different organizations, communities, foundations, schools, or colleges Depending on the residency, there may be specific outcomes or artistic goals for both the artist and the providing organization.
During the residency, artists are usually provided a creative space along with other resources and mentorship opportunities. Residencies may include things like accommodations, meals, and an honorarium, stipend, or funding
Keep in mind that not all opportunities will come with funding, and there can be costs and associated fees to be covered, but in some cases these costs may be eligible for grant funding Read on to find links to sample funding opportunities
Artist residencies usually follow an application process and sometimes require a portfolio of sample works The requirements are as varied as the array of residencies to be found
Are you looking to explore, experiment, travel, and become inspired beyond the confines of your studio or creative space?
Come along on a road trip of residencies across British Columbia, and you find out if one of these opportunities is right for you.
Vancouver Island and Area
Nanaimo Ceramic Arts – Artist in Residence
Location: Nanaimo
Link: www.nanaimoceramicarts.com/artistin-residence
Overview: Nanaimo Ceramic Arts offers an artist-in-residence program. Their program lasts a minimum of four months with a maximum of twelve months and provides ceramic artists with the opportunity to create their own body of work, which is then followed by their own gallery show NCA provides guidance in developing a business plan, space to work, access to materials and many other benefits and collaboration opportunities
City of Victoria – Artist in Residence
Location: Victoria
Link: www victoria ca/communityculture/arts-culture/public-art/artistresidence
Overview: This opportunity allows professional artists to work with the City of Victoria staff and the local community to create artworks and artistic projects within Victoria The program is part of the cities continuous endeavour to encourage its citizens and community members to become active and involved in the arts
Salt Spring Arts – Artist in Residence (AiR)
Location: Salt Spring Island
Link: saltspringarts com/artist-inresidence
Overview: The Salt Spring Arts Community Arts Council provides artists in residence opportunities, also known as “AiR ” This program provides artists with time and space to work on their creative pursuits In exchange the artist will engage with the local community This opportunity provides a unique venue and studio space
Gabriola Arts Council – KGT Residency
Location: Gabriola Island
Link: artsgabriola ca/kasaharagabriola-trust-artist-residency
Overview: The Kasahara Gabriola Trust Artist Residency is a unique and special residency opportunity Toshiko Kasahara was a beloved resident of Gabriola Island who was passionate about the arts After her passing, Toshiko left “The Kasahara Gabriola Trust ” This has become the KGT Residency which provides a living space and a work space in a breathtaking location Artists will present a gallery show, performance, reading, or other way to share their created body of work at the end of their residency This sharing opportunity is to be done with the Gabriola community and with the support of the Gabriola Arts Council
Vancouver and Area
Western Front
Location: Vancouver
Link: westernfront ca/pages/artistsin-residence
Overview: This program provides opportunities for local and international artists to create new work The residency is open to artists in various disciplines such as music, media, time-based visual art, performance, and literature
Funding and Grant Opportunities
On the hunt for funding support for an artist residency? Here are two places to start:
British Columbia Arts Council –
Professional Development Grants
Links: www.bcartscouncil.ca/program/profes sional-development-3
Overview: The British Columbia Arts Council has funding available to assist artists, cultural practitioners, production and technical personnel, and arts administrators. The professional development funding is available to support learning and help artists advance their career and their practice
Canada Council for the Arts –Research and Creation Grants canadacouncil ca/funding/grants/expl ore-and-create/research-and-creation
Overview: Artists, arts groups and arts organizations can apply to make creative works Grants provide support for research, creation and project development including residencies.
Deer Lake Artist Residencies
Location: Burnaby
Link: www.burnaby.ca/recreation-andarts/activities-and-registration/artsand-heritage/deer-lake-artist-residency
Overview: This residency is open to established or emerging artists. It is also open to multiple disciplines including visual arts, theatre arts, music, land-based practices, poets, authors, and more Short-term housing and studio space may be included The residency allows artists time and space to create new work and opportunities to engage with the local community
Fraser Valley and Area
City of Maple Ridge – Artist in Residence (AiR)
Location: Maple Ridge
Link: www mapleridge ca/parksrecreation/arts-theatre/artistresidence
Overview: The AiR program allows artist to create projects that help the community engage with the arts There may be live-work studio housing available for the artist This program is supported by the Maple Ridge Public Art Steering Committee and is operated by the city’s Recreation Services.
The City of White Rock – Artist in Residence Program
Location: White Rock
Link: www.whiterockcity.ca/DocumentC enter/View/10343/Artist-inResidence-2024
Overview: The City of White Rock provides an artist in residence program for an artist or a team/collective of artists This is a four-week program that focuses on community engagement and is open to emerging and established artists Gallery space is available to the artist
Port Moody Arts Centre –Ceramic Artist in Residence (CAIR)
Location: Port Moody
Link: pomoarts.ca/artist-inresidence
Overview: The CAIR program is an annual artist in residency program organized by the Port Moody Arts Centre Society. This program allows artists to create new ceramic art and work. The resident will have studio space for a whole year, and then gallery space for a solo exhibition Mentorship opportunities are also available The artist in return may instruct classes, or assist with the operation of the Open Clay studio Artists are also given the opportunity to engage with the public
Interior, Kootenays, Caribou and
Area
Penticton and District Community Arts Council – Artist in Residence (AiR) Program
Location: Penticton
Link:
www.pentictonartscouncil.com/ air-application
Overview: During the time in residence, the artist will work on developing a new body of work or projects Their work may be presented to the public and community This is open to artists in all stages of their art career, and includes all media types Studio space will be available to artists, and it runs on yearly terms
Similkameen Artist Residency
Location: Keremeos
Link: www.simartres.com
Overview: Artist can create new artwork in a log cabin at the base of a mountain surrounded by a beautiful landscape near the Similkameen River. This opportunity is open to international artists and artists across Canada Art practices such as writing, sound art, film, video, digital art, textiles, painting, drawing, photography, and DIY printmaking are ideal practices for this opportunity
Island Mountain AIR – an Artist in Residence Program
Location: Wells
Link: support-imarts com/artist-inresidence
Overview: This is a self-directed artist in residence program. It is open to a variety of artists such as visual artists, filmmakers, curators, musicians, producers, directors, writers, and photographers. Studio space and living space is available.
Northern BC and Area
Cassiar Cannery – Artist in Residency Program
Location: Port Edward
Link: cassiarcannery.ca/artist-in-residenceprogram
Overview: Located along the Skeena River Estuary in Port Edward, this residency provides artists with a unique place to stay and create in British Columbia. Artists are required to donate one piece of art to the Cassiar Cannery
North Pacific Cannery – Artist in Residence Program
Location: Prince Rupert
Link: www artsprincerupert ca/artist-inresidence html
Overview: In partnership with the Prince Rupert Community Arts Council, the North Pacific Cannery hosts an artist in residence program Artists are provided accommodation, and studio space The artist has the opportunity to create new works, engage with the public, and promote their own residency.
These are just a few selected opportunities that are available for artists across our beautiful province of British Columbia.
Enjoy the journey, and become inspired wherever your art takes you.
Are you planning your next road trip and applying to one of these amazing opportunities? We’d love to hear from you!
Connect with us and share your thoughts:
Did one of these opportunities catch your eye?
Do you know of other opportunities available to artists in BC?
Have you participated in an artist in residence program and want to share your experience and story?
We would love to hear about it, chat, and share.
Connect with us here: info@ladysmitharts ca
E i C dit f St t hi
By Peg Ainsley By Peg Ainsley
Here I am in my seventes, and other than this age bringing a nasty surprise every day in terms of the physical body, I’m quite content with it I make art, I write, I support live music I was introduced to screenwriting by a writer/director from Los Angeles in the 90s, and I wrote with him for years We were prolific, and it provided a skill I can continue to utilize in ‘retirement.’
In addition, I have produced two short films one that I wrote, and both were shown at festivals. One of these continues to be in use by a doctor of anthropology in her college classes. It was directed by one Malcolm Johnstone, whom I met at the local filmmaking society. That was two decades ago.
Malcolm and I have kept in touch over the years, but I was surprised when he called to invite me to work on a film project! We discussed a few possible positions for me, and landed on “Production Manager” (PM) I was a tad trepidatious about saying yes, but my excitement far outweighed the angst.
Malcolm Johnstone writer, producer, and director (above right, with glasses)
Photo courtesy of Malcontent Media Productions
From the Director:
“There is a lot of coordination required in making a film on any level Some positions are essential no matter the project size Different filmmakers have different preferences, especially in what I call Nextto-No-Budget Filmmaking.
Not all have a production manager, but I can’t see doing without one. In essence, they are there to help coordinate the production itself during preproduction and production phases. They are not as necessary though still helpful once you move into post production. Many production managers go on to be one of the various types of producers, which means involvement during the exhibition/release part of the film
As a director, one thing that I am proud of is my eye for casting As a director who produces, this applies to “casting” the crew, especially in certain key roles Once I got Peg on board as my PM, it felt like I was properly sharing the load when it came to getting this film made.”
Imagine! At this age and stage, I’d be working on a film set! This is something I never thought I would do again
I learned that much had been updated since my last experience First, the actor’s union needs a lot of information! Not only from the production company, but also from workers compensation a provincial body. Where one thinks there may be one form to easily complete, there are in fact several. I was completing them for Malcolm’s company, Malcontent Media Productions, and there was only so much I could do without his input.
In spite of his attention being in critical demand on a number of fronts, he always found time to help me out, or fill in blanks and forward paperwork along Contracts fell to me These were for locations, performers, and crew over 30 in all Everyone needs to give the production company the right to utilize their images That is the reason we can include these photos here
It was a three-day shoot, and we did not have much lead time, so we experienced a few difficulties, but with Malcolm’s excellent communication skills, patience, and the willingness to make changes, all eventually was sorted, and the project is currently in the editing suite The plan is to enter it in a number of festivals on the Island and beyond Watch for the title Where Credit is Due
My time on set was spent making sure every new member of cast or crew had signed the release form I also kept my eyes peeled for whatever needed to be done. Sometimes it was as simple as picking up some empty cups; sometimes it means ordering lunch; sometimes I was needed for a sidebar chat with Malcolm, or a trip downstairs to meet incoming performers.
It was exhausting. It was fun. I felt validated. I met some fabulous people many talented people. One of the actors is working on a project of his own and asked if I could help on his shoot. Some of the performers who had only a short stay on set made for fascinating conversations between takes I am not only listed as the Production Manager, but Malcolm chose to add an Associate Producer credit for me I’m pleased because this is eligible for my IMDb profile Such are the rewards of going beyond one’s comfort zone
The Misadventures of Vincent Van Goat Presents
Written and Illustrated by Joanna Vander Vlugt
Meet the artist behind this issue of Vincent Van Goat
Joanna Vander Vlugt is an author and illustrator. As a teenager, she drew charcoal portraits and wrote mysteries. Now, she uses Copic markers to illustrate motorcycles and scooters. She feels art and writing battle for her time, which is ironic given Joanna had taken a 20-year break from writing, and a 30-year break from creating art. She had a family, and her priorities had changed.
She never thought she’d get back to drawing, and it was the gentle encouragement from her best friend which made the difference. “She told me to draw in a little sketchbook, and no one had to see my drawings unless I wanted to share them She was very happy when I told her one day that I needed to buy a bigger sketchbook.”
In the mornings, Joanna writes The Unravelling, her debut thriller novel, and Dealer’s Child were Canadian Book Club Awards finalists. Joanna drew upon her 13 years of experience working in the prosecutor’s office and 10 years working in the Office of the Police Complaint Commissioner for inspiration for her novels. Joanna has just released her third novel, Spy Girls
Vincent Van Goat is a special member of Ladysmith Arts.
Watch for him in other issues of Art Magazine
In the afternoons, Joanna creates art. She is currently working on illustrations for a graphic novel. She loves conveying a story through art. She finds it rewarding and challenging. A great reference book she always refers to is The Complete Guide to SelfPublishing Comics, written by Comfort Love and Adam Withers. One of many lessons Joanna learned is to research the subjects she’s about to draw, whether it be costumes or cushions. Also, she learned the importance of being open to adapting the story to fit the art and vice versa.
Joanna’s novels, art and podcast can be found at www.joannavandervlugt.com and her Instagram is joannavandervlugt author art .
Find solace, and be comforted by art. Feel the soothing and calming effect of artwork, and take in the uplifting and inspirational energy. Be transported to a peaceful, cheerful place during this show at the Ladysmith Gallery!
ARTIST LEGACY: E. J. HUGHES
by John Edwards
The landscapes of E J Hughes are intricately choreographed moments in time which reflect the beauty of southern Vancouver Island and especially the Cowichan Valley and Lady Smith
After attending the Vancouver School of Art between 1928 and 1935 and working as a war artist, his most valued works are realistic paintings of scenes known to us, but which carry an extra dimension of delight and wonder in the natural landscape; and which deepen our appreciation of the familiar through the extra lens of what is now past.
This is especially true in such paintings as “Cowichan Bay And Mt Prevost,” “Maple Bay,” “Shawnigan Lake,” ‘Sooke Harbour,” and “Saanich Inlet ” The colours are so perfect one is tempted to look over the artist’s shoulder at the same time of day and season
But E J Hughes did not idealize where we live, and included studies of the forestry practices which have in the last century changed the look of our Island. In such studies as “Unloading Logs, Comox Harbour” and the sketch upon which it is based, “A Log Dump at Royston,” he was able to craft compositions which, if not celebrate our industrial past (and present), find art in unexpected places.
Another example, “The Seashore at Crofton,” is a delightful study of waves and trees separated by a beach strewn with abandoned logs upon sand which is speckled with the dark reminder of the copper smelter which operated there before World War I to process ore from Mt Sicker E J Hughes painted both what he saw, and what it meant, if one looks a little more closely
Another subject for which he is known is paintings of ferries when they had the majesty of steam ships after World War II “Steamer In Grenville Channel” for example, depicts a beautifully designed ship crossing dark waters under a threatening sky with a glimpse of snow-clad mountains in the far distance; while “Taylor Bay, Gabriola Island” is based, as are all of his works, on a meticulous sketch upon which the artist would annotate every detail with the names of colours and hues for the forthcoming painting. But, the composition is somehow raised to another level by the appearance of a passenger steamship headed, one assumes, for Nanaimo Harbour on the upper left corner beneath a flow of cloud across a sky of delicate blue, so that one’s eye is irresistibly drawn away from the fishing boat and the figure working on it in the foreground In this way, movement is paradoxically captured in a moment of static time
Of particular interest, perhaps, to those of us who live in, or near, Lady Smith (I retain the original spelling of the name of the wife of General Smith after whom our town is named) are two paintings: “Boathouses On The Beach, Ladysmith” and “Ladysmith, B.C. 1982.”
No trace of these boathouses now remains in the latest transformation of our harbour, but in 1969, Hughes drew, then painted them just above the high tide line with ramps upon which boats were hauled up from the sea
There is something sombre in the way they seem to guard the shore; and there is the deliberate intrusion on the bottom right corner of a rusting railing of a red pier But, as at Crofton, the sand is dark and gray with specks of white from oyster shells This is the unstated legacy of the massive dumps of coal which, carried by steam trains, used to be loaded onto ships at Transfer Beach in the Dunsmuir era. Thus the paintings of E.J. Hughes are, to me, not only beautiful works of art, but also historical documents of the decades of our recent past.
The same can be said of “Ladysmith, B. C. 1982”. It depicts our town in one of the periods when jobs were scarce and people had not yet discovered it as a retirement destination Roberts Street is quiet except for three parked cars, and the foreground is empty except for late summer grass burned to gold by the sun; while across Oyster Bay there are log booms, as today, tied to piers
The sleeping summer colours are contrasted with shades of red on the walls and roofs of buildings. Even though the subject is a small town above a working harbour, the effect is to evoke a feeling of peace, and tranquility, another example of the paradoxes achieved in paint by E. J. Hughes.
I think he got it right in acrylic hues
Not the Lady herself of course but her image in subtle colours
Asleep in shadows from Mt. Brenton’s massive
And Mt. Halls brooding clearcut where lingers the snow And impossible towers of cumulus ascend And a foreground of booms rise on a tide While along the shore still dark sleeps the sand - John Edwards (from “Lady Smith’s Streets”)
Day2 Mistakes
Day1 Heights Day3 Crow Day4 Touch Day5 Clowns
Day6 TheDark Day7 Ghoul Day8 Intothe Unknown
Day10 Disguise Day9 Feelings
Day11 Pumpkin Day12 Extreme Day13 Breaking Rules Day14 Depths Day15 Howl
Day16 Closed Spaces Day17 Bones Day18 Caves Day20 Goo Day19 Unbalanced
Day21 Friend orFoe Day22 Shivers Day23 Eyes
Day26 Cauldron Day27 Spirits Day28 Gnomes Day24 Animals Day25 Crowds
Day29 Creepy Crawlies
Day30 Macabre
Day31 Fire
A D Y S M I
October
Welcometothe31-DayArtChallengeforOctober2024hostedbythe ArtsCouncilofLadysmithandDistrict!
ThethemeforourOctoberchallenge:Comeon,scaredycat!
Forthischallenge,wearetacklingourfears!Sometimesourfearsare veryapparent,othertimeslessnoticeable.Youcantreatthisprompt asawaytodigdeeperintofrightsanddiscomfortofallkinds.We inviteyoutoshareyourart,andperhapsincludeasentenceortwo.
Letusembracethisspookyseasontogether!
Howtoparticipate:
Useanymediumandsize,followtheprompts(ornot)
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HousekeepingNotes:
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This show shines a light on local artistic talent. Illuminate your world, and be transported to a place filled with the glow of light. Be dazzled, and bathe in the radiant shine. Brighten your day during this glimmering show at the Ladysmith Gallery!
Walk Into the Wilderness
Under that bough of leafy green I stop. Weary - feet calloused, lungs deep and a fire in my heart
Tracks worn deeper in my soul than those my feet make,
Yet I feel my heels drag along as my toes reach for the next step.
Two roads ahead. I long to turn around.
Head home. Past familiar trees, berries I made acquaintance with, and shadows I stopped to talk to.
But I know, the only path lies ahead and I must choose.
In that moment, a psalm rises in my heart, Clearing the dust, pain and the stain of fatigue, I sing.
Thank you feet -
For carrying me on this, one of many journeys I have and am yet to travel
For pounding the forest floor as I run, pushing my body as a way to ease the chatter in my mind - at times chaotic, confusing and cruelyou hold me up, one step after another.
Thank you lungs -
For breathing as I dance. Skipping over stones and roots and rocks as I wander into the wild and find my silence. Vibrant greens, muted earth and the occasional carpet of light where the sun peeks through the trees bathing my body in the serenity of the forest.
Thank you heart -
For connecting me with the solid stability of the earth. Grounding me as I feel, through you, its permanence and strength
Two roads diverged in a wood, as they say, and you carry me on the one I choose to travel
Erin Tzvetcoff
- Dedicated to those who trusted themselves enough to walk into the wildness, not knowing which roads lie ahead
At the Edge
Like a child, toes curled over the edge of a pool trembles, I do too -
As if I understand I won't be the same again; see the same again If I jump.
There is trembling.
The same as leaves have in autumn - all dance and flutter just before they plummet
Shall I go beyond my norm?
Does it matter, proper form?
One "Nike" thought will cue it
Like the brand says, "Let's just do it!"
When cool water hits my skin
I understand I am safe. No matter how far the leap, Once taken, it is worth the angst that came before. It is fresh and meaningful. It is memorable, and affirming. It is just the same as all the other learning
I am changed!
Peg Ainsley
Quake
When you died the ground of my life heaved and buckled cracked wide open disintegrated leaving a landscape unrecognizable and alien
That savage quake smashed the forms the structures the peace and dreams we had built so painstakingly so joyfully together over so many years
But it could not sway our love
Now I stand amid the devastation strong in my loving and shattered, too, exhausted and begin to rebuild so slowly picking through the rubble piece by piece clearing away debris resting often in my tears and the tentative new buds of joy and hope as life re-emerges reaching for the Light that is ever there and now burns more brightly with your Presence on the other side.
Judy Hancock Holland
Leprechaun
He sits on my left shoulder, And watches me paint.
A mean little creature. Scowling. Taunting.
“That’s very ugly,” he’ll say. But I keep painting. My painting space shrinks as my collection of finished canvases grows.
So I apply to do a show
“You’re not an artist,” says Leprechaun
“You’ll never get a show.” Leprechaun accompanies me to my first show.
It’s at the MAC. In Parksville. My paintings are on the wall. My soul exposed to the world.
I feel like I’m standing there naked.
“Look at your work compared to the other artists!” sneers Leprechaun.
“Yours looks like a Kindergarten kid painted it!”
I hope and pray that I will sell at least one painting.
“Nobody is going to pay money for that!” says Leprechaun as he gestures around the room Twenty-three paintings sell I feel like an artist!
“Just a fluke,” says Leprechaun. Today I’m driving to Comox to set up a show.
Leprechaun is in the back seat.
I turn up the music.
Linda Greig
“Let’ s look at it this way!” he said
A catchy phrase
It asks me to turn my head
Look at things from a different angle
Break free of stereotypes
Walk away from my comfort zones
See the multi-dimensional glow of light in the mirror
“Let’s look at it this way!” he said
Good point, I have been stuck in my views
A prisoner in my mental ways
Wearing internal glasses
Seeing things through one lens
Assuming everyone thinks like me
Let’s look at it this way!” he said
An invitation to think afresh
Understand everyone wears own glasses
Lenses come in different colours
As many hues as there are people
Numerous outlooks
Countless blind spots
“let’s look at it this way!” he said
Sometimes Seeing things anew requires turning 180 degrees
Going all the way back
Start from beginning
Wiping and adjusting the lenses
Even changing the prescription
Parvaneh Farhangpour
Transformation
In the first stages of changing you slowly come out of a slumber onto the gruesome pain and mess of a labor, hoping to savor any yearnings of an earlier splendor.
It’s like living underneath a temporary vessel of a moth and unwillingly feel the spats and shedding of your Kundalini snake ready to die any remainders of anguish inside.
Journey
From bright lit lawn of day
We enter the jungle's gloom
Monsters lurk unseen but heard
Screams in the night
Sly noises mark the dark
The foul breath of hidden things,
Fear of those we have not met
The edge of light
We crawl, minds slow and dim
Start picking through the unknown
Then curious, sharp, intent
Fearless and bright
Slash loose the crowding vines
'Til the threat of strangeness ends
Carve out a place of safety
Holding on tight
Our days become content
Life explained, tamed, orderly
No fear, no dark, no sorrow
We miss the fight
Again, the jungle beckons.
Chris Earl
It’s like seeing the light out of a noir scene anticipating all the blessing wherein.
It’s like still flirting with darkness one last time reminding yourself of the lessons just before you are about to fly...
(...never even have to wonder for a second why!)
Caroline Cavalcante
