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THURSDAY, AUGUST 13, 2020
HOME AGAIN
VOL. 46 NO. 32
BIUndercurrent
BowUndercurrent www.bowenislandundercurrent.com
After nine months missing, Cleo returns PAGE 3
Revisiting art
‘MODERN IN THE MAKING’ IS A LOOK AT POST-WAR CREATIVITY IN B.C. IT RUNS JULY 18 TO JAN. 3 AND FEATURES TWO ISLANDERS HC BEHM
Contributor
AARON HANEN PHOTO
Bowen Island firefighters douse a fire in the seven hills area of Miller Rd. Wednesday. Though the home was lost, none of the surrounding buildings or homes caught fire.
No one injured in Miller Rd. fire BRONWYN BEAIRSTO
Editor@bowenislandundercurrent.com
Bowen Island Fire Rescue responded to a house fire on Miller Rd. Wednesday morning. The single occupant was not injured
1519 Williams NEW LISTING
and the fire did not spread to surrounding buildings said Bowen Island fire chief Aaron Hanen. The building itself, in the seven hills area of Miller Rd. between Collins Farm Lane and Scarborough Rd. was destroyed. The fire was started by a BBQ said
Hanen. Miller Rd. was closed for a few hours mid Wednesday as firefighters got the fire under control and cleaned up. RCMP opened up a detour through David Rd. (a private road on Millers Landing) during the Miller Rd. closure.
On July 18, the Vancouver Art Gallery (VAG) opened “Modern in the Making,” an important look back at the explosion of post-war creativity here in B.C. expressed in design and crafts between 1945 and 1975. The war industry had developed basic materials like plywood, bent wood and aluminium for war plane construction, steel rod and angle iron, synthetics and plastic laminates. “Modern in the Making” takes the viewer from quickly emerging civilian market product design through to fusion with the Pop and Op Art of the ’70s. Allan Collier, the collector of B.C.-originating design and production has acquired artifacts for about 50 years. About 75 per cent of the VAG’s show is loaned by him from his collection. After researching in the Vancouver Sun, Allan found a picture of my original “Vancouver Chair” in a 1969 issue of the Vancouver Sun and contacted me. The Royal Ontario Museum (ROM) had invited for a nation-wide craft and design show. I sent my contribution: pollyfoam cushions in psychedelic fabric held together by plexiglass and corner lace. An invitation by the National Design Centre followed, for which I created a four-piece settee, shown later that year on Toronto. I changed the containment frame to aluminium and chose just four solid colours for the upholstery. The powerful Eastern Canadian Furniture Industry ignored my design and Scandinavian Teak designs had become popular. And since I did not have the money to flood the market the “Vancouver Set” became and remained a “one of.” CONTINUED ON P. 8
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