Aqua
COMFOR T FOOD Marcia
Jansen's popular column inside
Gulf Islands
Living
JANUARY/FEBRUARY 2019
Volume 14, Issue 1
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Lights, action, Change Salt Spring Film Festival marks 20 years the power of many 100+ Women Who Care make things happen
burning brightly
Mayne Lights company shares its shine
full flight
Purple martins return to Pender Island
Arts | festivals | food | nature | community
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Twenty years later
W
e all know that time seems to speed up as we get older. Yet it is still surprising how quickly the years roll by when it comes to groups or events celebrating their anniversaries. For example, in some ways it’s hard to believe that the Salt Spring Film Festival is celebrating its 20th anniversary this March, but in other ways it’s par for the course. I clearly remember the excitement of those early years, writing promotional stories for the Driftwood and even reviewing a couple of media-related DVDs and facilitating discussions. The festival is now a pretty slick operation, and it still educates and inspires action through the films it shows. I’ve always enjoyed visiting the various Social Justice Bazaar booths as well. In this issue we happily recall both the origins and evolution of the popular festival, which runs March 1-3 this year, in a story by Marc Kitteringham. Also on the film theme, Elizabeth Nolan interviewed Stage Fright Productions founders, who see
Aqua
michael murray photo
Editor’s Message
Gulf Islands
Living
This issue published Jan. 2, 2019
huge potential for the Gulf Islands to grow as a filmmaking centre. Salt Spring Islanders may not know that one of Canada’s top lighting designers for stage productions lives among them, but our Q&A subject, Michael Whitfield, is a decidedly modest man. Light and creativity also feature prominently in Cherie Thiessen’s story about Mayne Lights, a new company that makes unique candles and beeswax wraps. Cherie also brings us out of the winter gloom with her sunny-season tale about the purple martin bird recovery program on Pender Island. I share the inspirational story of Salt Spring’s new 100+ Women Who Care group, which was initiated by Janine Fernandes-Hayden. When islanders work together, either through new groups like 100+ Women or veterans like the Salt Spring Film Festival Society, the sky is really the limit when it comes to the positive change we can create. — Gail Sjuberg
Publisher: Amber Ogilvie Editor: Gail Sjuberg Art Director & Production: Lorraine Sullivan Advertising: Shirley Command, Ashleigh Gionet Aqua Writers: Cherie Thiessen, Elizabeth Nolan, Marc Kitteringham, Gail Sjuberg, Marcia Jansen Aqua Photographers: Cherie Thiessen, Ramona Lam, Marcia Jansen Cover photo of the 2018 Salt Spring Film Festival board and staff by David Borrowman Aqua is published by Driftwood Publishing Ltd., 328 Lower Ganges Road, Salt Spring Island, B.C. V8K 2V3 Phone: 250-537-9933 / Email: news@driftwoodgimedia.com Websites: www.driftwoodgimedia.com; www.gulfislandstourism.com; www.gulfislandsdriftwood.com Publications Mail Reg. #08149 Printed in Canada
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• It might not yet seem like gardening weather, but Seedy Saturday season will soon be upon us. Early birds can go to the Gardens of the Horticulture Centre of the Pacific on Quayle Road in Saanich on Jan. 12. Galiano holds its Seedy Saturday on Jan. 26 at the South Galiano Community Hall. Hosted by the Seed Library of Galiano Society from 9 a.m. to 3 p.m., the event sees guest speakers, vendors, a seed library and seed exchange. Salt Spring holds Seedy Saturday at the Farmers’ Institute on Feb. 9 from 10 a.m. to 3 p.m. Mayne Island’s event is at the Ag Hall on Feb. 16 from noon to 3:30 p.m. • Islanders will be hearing more about the first Salt Spring Photo Fest in coming issues of Aqua, but we’re happy to get an early word out for people who might want to participate as photographers, viewers or festival sponsors. The festival will see photographs exhibited in galleries, cafes and studios from June 13 to 26. More information will be posted on www. saltspringphotofest.com as it unfolds. • Preparations for the third biennial Salt Spring National Art Prize event are well underway, and submissions will be accepted beginning on Jan. 10. Any artist who is a Canadian citizen or permanent resident of Canada is invited to submit
two- and three-dimensional work for consideration. Submissions close on May 31. Some 50 pieces will be chosen for the finalists exhibition, running Sept. 21 to Oct. 21 at Mahon Hall. Finalists are selected by an independent jury of members from across Canada, with all submissions anonymous to the jury. A total of $40,000 in prizes is available to be won. • The Galiano Literary Festival faithfully returns again, with numerous authors confirmed for the Feb. 22-24 event so far. They are George Bowering, Don Calame, Susan Hillis, Alix Hawley, Helen Humphreys, Des Kennedy, Jack Knox, Randall Maggs, Kathy Page, Anna Porter, Bill Stenson, Meg Tilley, Miriam Toews, Audrey Thomas and Rebecca Wigod. See galianoliteraryfestivalwordpress.com for updates. • The Montreal Guitar Trio is one of several ArtSpring Presents series shows bringing some light to winter months in the islands. See www.artspring. ca for event details and tickets. At left: Montreal Guitar Trio. Above: Packages at Salt Spring Seedy Saturday.
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Cover Story
Twenty Twenty years years of of
docs
Salt Spring Film Fest set to celebrate 20th anniversary
Story by MARC KITTERINGHAM Photos by Ron Watts, except as noted
O
n a Friday afternoon in March, a team of volunteers will descend on the high school to temporarily transform it into a six-theatre multiplex. Classrooms will become studios, the multi-purpose room will become a lobby and gathering place for moviegoers to discuss what they just saw. Popcorn will be popped and tickets will be torn as film fans, local NGOs and creators converge to celebrate the 20th anniversary of the Salt Spring Film Festival. Twenty-two years ago, Bob Wild, Marg and Art Simons started a film festival with the intention of bringing documentary films to island audiences. In the early days of the festival, people paid what they thought was fair and crammed themselves into the basement of All Saints By-the-Sea church. “It was impossible. We were swamped,” Wild remembers. “We had enough chairs for what we thought would be adequate, but the second year it was just jammed!” January/February 2019 – AQUA – Page 7
Above, from top: Young filmmakers Cowboy SmithX and Chris Hsiung talk to a 2016 film fest audience about their film; view of the popular Social Justice Bazaar and Intermission Cafe area set up in the GISS multi-purpose room. Page 7: Back in 2013, Dave Vollrath of Living Water Media Services films then-GISS students Maddee Nash, left, and Madison Greggains as they give reviews of films they saw.
Page 8 – AQUA – January/February 2019
After two years at All Saints, the festival changed venue to its current home at the high school, a move brought on by Jane Squier. Squier helped start the Calgary Documentary Film Festival and wanted to bring Salt Spring’s version to a bigger audience. In the years since, it has matured through numerous iterations into one of the most interesting weekends of film on the island. The original team, made up of Wild, Marg Simons, Squier and Maggie Schubart, worked tirelessly to bring the festival to fruition each year. However, after five years of hard work, they decided to pass the mantle on to someone else. “At the end of five years, we felt rather spent,” Wild says. “It’s a high-pressure operation from October until March. I wrote an ad asking for people who would like to take it on [to come for a meeting]. We booked the hall up at [Central] and nobody came! Not a single soul. We had to send a second letter off saying that we needed to get moving.” The operations were passed on to an American couple who were unable to continue after their first year. Then Diane Thomas and Jim Meadows stepped up in 2005. Thomas has a background in the film industry, which led them to join the volunteer team. Under Thomas and Meadows, the
Filmmakers are using new media to become more creative in their films, combining animation, graphics and video footage to help build their creations.
festival became a registered non-profit society, which helped bring in more funding for films and staff. “As a group of ad-hoc people getting together, we just had no access to serious funding. That was a big change,” Meadows says. “It took us a number of years of building up the finances until 2012 when we finally were able to hire two half-time people.” One of the major issues that the film festival has had to deal with has been keeping up with rapid technological changes in the industry. In the 1990s, the main difficulty was finding people to act as projectionists for the films. By 2005, DVDs were the main way films were presented. “When we started, as long as you had a DVD player and a portable screen, you could show a film. We would get our screeners to send us films in that form,” Meadows says. “That changed when we started getting links to films online. You had a certain amount of time with a password to watch it . . . Now we can only stream. We never get DVDs or BluRays.” The switch to digital projection has been a huge jump in cost, Meadows explains. The major hurdle is being able to project a streamed video at high definition on a large screen. As more and more commercial theatres are moving to the more expensive set-ups, it may become difficult for small film festivals like Salt Spring’s to keep up with the advanced technology. “It’s one thing to download and watch on your TV screen, but to be able to download something on a big screen with high quality is different,” Meadows says. “I don’t know where it’s going, but I can see it’s going to be a problem for us in the future.”
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Above: Raven created by Salt Spring artist Paul Burke for the society. Next page: Packed crowd for the gala night in 2016.
Filmmakers are using new media to become more creative in their films, combining animation, graphics and video footage to help build their creations. Squier says that the advent of new technology has opened the doors to filmmakers who otherwise would not be able to create the films they do. “It’s very different now,” she says. “In those days it was hard to access material outside of the film festival. Nowadays there’s YouTube and all sorts of availability of material. The number of filmmakers has [also] expanded exponentially because of the availability of decent equipment.” Film festivals are also becoming more attractive venues for up and coming directors. In the past, the organizers would get local experts to speak about the topics presented, but now more and more filmmakers are coming to the island to engage with the audiences about their films. “The audience loves it,” Meadows says. “The filmmakers consistently tell us that they love coming here. When they go to Vancouver or Victoria, they might be there presenting their film to an audience of 200 people. The level of interaction is very very different. They come here and they’re in a classroom of 65 people or something and they get really articulate questions and it really feels like they get some serious feedback.” Something that has remained constant is the Social Justice Bazaar, with not-for-profit groups setting up tables in the multi-purposes room, along with the Intermission Cafe, where all kinds of food and drinks are available for purchase. While the festival organizers certainly are looking toward the future, they also want to honour the past. Twenty years is a long time for a festival like this to be around, and its success is borne on the backs of community members and volunteers. At least one third of the festival’s funding comes from local donations, Meadows explained. “We do want to honour the important people who have been a part of it,” he says. “We’re going to dig into the boxes Page 10 – AQUA – January/February 2019
Over the past 20 years at SS Film Fest: • 765 films shown • from 43 countries • with 72 filmmakers attending (from Toronto, New York, Los Angeles, San Francisco, Oregon, Washington, Alberta, the Yukon and B.C.) • made possible by approximately 95 volunteers every year.
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Filmmakers, writers and the Gulf Islands' MP gather for a photo at the high school in 2015. From left, filmmakers Judy Jackson, Mark Achbar and Jenn Abbott, author Ronald Wright, MP Elizabeth May and filmmaker Harold Crooks.
and dig out as much as we can of original articles and posters.” Though the main event happens once a year, the society brings in interesting films from all genres during other months. Best of the Fest events give people a glimpse of the main festival and keeps Salt Springers interested throughout the year. “There is really something for everyone,” says Thomas. “There are the social justice hardcore films, but there are
documentaries about art, music, literature . . . it’s creative.” The festival runs from March 1-3, 2019. On the Friday evening, patrons will begin descending on the Salt Spring Film Festival. In years past, over 300 people have attended the opening night gala, and after 20 years of community engagement and documentary films, this year should be one to remember. Visit www.saltspringfilmfestival.com for info and updates.
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Philanthropy
Whole Lot of Caring Janine Fernandes-Hayden knew Salt Spring Island
New fundraising group has huge impact
was a generous community, but she and other members of the 100+ Women Who Care committee were still overwhelmed by the success of the new fundraising initiative they launched in the fall.
“We’ve been really thrilled with the model, and we’ve been thrilled with the uptake,” says Fernandes-Hayden. “It has completely surpassed our expectations.”
By GAIL SJUBERG Photos by Ramona Lam
January/February 2019 – AQUA – Page 13
Above: Members of 100+ Women Who Care listen to presentations at the Salt Spring chapter's first meeting held Nov. 8, 2018 in the ArtSpring gallery space. At right: Boodie Arnott gives a five-minute talk about why she nominated Salt Spring Seniors Services Society to receive funds from the evening. Previous page: The whole group and the $12,700 cheque.
Chapters of 100 Women Who Care operate in a number of communities, including Oceanside on Vancouver Island, where former Salt Spring resident Linda Matteson-Reynolds is a member. One day last year she phoned Fernandes-Hayden and said, “Janine, this can work on Salt Spring. You have to do this!” Fernandes-Hayden, who is extremely familiar with the island’s not-for-profit sector through her work as the administrator of the former Volunteer and Community Resources group and other activities, was seriously intrigued and couldn’t shake the idea shared by her friend.
How it Works
The model sees women commit to attending three meetings per year, donating $100 per meeting. Members nominate a local registered charity, and three are picked from a basket at each meeting. Nominating members give a five-minute talk about the charity, and then everyone votes for the one they’d most like to see their funds support. The winning charity receives all of the money donated that evening and provides charitable tax receipts to all individuals within one month. With 100 women donating $100, the charity receives $10,000.
Salt Spring’s 100+ Journey
Fernandes-Hayden decided a local chapter was meant to be if all the necessary pieces fell into place. The first was gathering a dream-team steering committee. All five women she asked — Mary Ann Bird, Carin Perrins, Lina Martens, Coreen Boucher and Perry Ruehlen — agreed to join her. At the first meeting they talked about their goals for membership. “We thought if we got 50 or 60 we would be thrilled,” says Fernandes-Hayden. But they were willing to proceed even if they had only 10 members. Via email they invited about 300 women to join, and also publicized the concept generally. “Within the first 24 hours we had 20 members. Within the first week we had 60. Soon after that we had 90 . . . by the day of the Page 14 – AQUA – January/February 2019
Nov. 8 meeting we knew that we had surpassed 100 but we didn’t want to tell anyone.” When it came time to announce the number they joked that they were embarrassed to have to change the name of the group from 100 Women Who Care to 100+ Women Who Care because they had 127 members. The result of that meeting, which lasted only 45 minutes, was that the Salt Spring Seniors Services Society received $12,700 in donations. The Root and the local BC SPCA branch were the other two charities whose names were picked from the basket that night. When the next meeting is held, on Feb. 12, the pot will be even larger. As of mid-December, 146 women have joined, and people are still inquiring about whether or not they can sign up. The answer is yes. “It’s a rolling membership,” explains Fernandes-Hayden. Women must commit to attending and donating to three consecutive meetings, and must also be prepared to talk about the charity they nominated, or to provide a script for a steering committee member to read. “This is heart work,” she says. “You aren’t speaking to the head . . . The most powerful presentations answer questions like ‘Why does this organization mean so much to you? What impact has it had?’ If you are a volunteer, why do you volunteer? If you are a recipient of the services, what was that like for you?’” Organization names stay in the basket until they are drawn, or the nominating member decides they don’t want to stay with 100+ Women, or they want to change their charity. Winning organizations cannot participate again for three years. In addition to the financial impact created by 100+ Women Who Care, members appreciated the opportunities for networking with a diverse group of women and learning about local charitable organizations. The steering committee is grateful to a number of sponsors, and three anonymous donors who agreed to cover the cost of renting ArtSpring for the meetings. See the www.100womensaltspring.org website for more information.
Creative Arts
M vie
Magic Islanders conjure up local film scene for Salt Spring Story by Elizabeth Nolan Photos courtesy Stage Fright Productions
Last August, Salt Spring’s legendary Beaver Point Hall added an unusual function to
its possibilities as a venue. Known for late night dances, craft fairs and bean suppers, for one night the well-crafted wooden walls played host to a world film premiere.
The fact that a film screening complete with audience Q & A and red carpet-style photo backdrop was located in the hall was unusual enough. Even more so was the fact that Cascadia — a lusciously filmed dark fairytale steeped in forest mysteries — was created on Salt Spring by local filmmakers using local acting talent. Written, directed and produced by Deanna Milligan with co-producing credits shared by her husband Jason Gaffney and friend Claire Robertson, Cascadia is an original story that draws on ancient mythology, but is equally rooted in the Gulf Islands as a particular place. With multiple different ventures the team is pursuing through their company Stage Fright Productions, there may soon be an entire body of work coming out of that provenance.
January/February 2019 – AQUA – Page 15
“In the Gulf Islands in particular, we have a potential to tell some specific stories that are from here. I think that the unique way that we live here is an opportunity to dive deep and show people what that feels like,” Milligan says. “It’s not just documentaries that you can do, there’s so much creative energy that’s here as far as being able to create narrative.” Milligan and Gaffney entered the film world as actors in Vancouver and have only recently shifted the focus to creating the stories that are being told. Milligan has been on film and TV sets since she was 13, with 66 acting credits to her name right up to the present. She is a two-time Leo Award winner for best actress and has received two Gemini nominations. When Milligan started her acting career, there were no women on film sets — at least not in the creative roles. “The women were hair, make-up, wardrobe, but that’s it. So I didn’t really have that influence until later in my life when the kids were growing and Celliant technology converts the body’s vibrant energy Latex is the most durable and cushioning material available. kind of feeling like I wanted something more than emission otherwise known as heat into far infrared light and Derived fromand a Rubber tree. It is versa-tile to provide just acting performing,” she says. “I stillyou like actCelliant the body’s vibrant energy Latex is the most durable and cushioning material available. emitstechnology it into the converts body where its absorbed by the tissue with responsive and contoured simultaneously. ing and performing, but tosupport be able to tell the story is It isthing versa-tilenow, to provide you as technology goes. These are emission otherwiseMilligan, known as heat far infrared light and new as •far Above: left,into Jason Gaffney and Claire Robertson set up a CascadiaDerived shot. from a Rubbera tree. andDeanna muscles. Supportive simultaneously. emits it into the body where its absorbed the tissue sort of support just new opportunities that have arisen, and Previous page: Milligan and youngbyactor Lily McCluskey during Cascadia filming. with responsive and contoured
When Milligan started her acting career, there were no women on film sets — at least not in the creative roles.
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I think that’s what makes this a possible place to actually have a little film scene here. It’s possible to do that.” Gaffney was busy acting during the 1990s and 2000s before taking a fulltime screenwriting course at Vancouver Film School. He made his own film and gained experience as a production assistant and production manager on an indy feature along the way. The couple moved to Salt Spring in 2010 when Gaffney was working for BC Ferries, after seeing their dream hemp bale house in an online real estate listing. They felt the island would be perfect for raising their two young daughters, and the Saturday market ideal for Milligan’s clothing line. Film may not be the first medium one thinks about when talking about the rich arts community in the Gulf Islands, but it is a compelling platform for expression that seems bound to grow with tools such as cameras and computer editing software becoming increasingly available. Cascadia recently screened at the Lucid Dream Fantastic Festival in Castelnuovo di Garfagnana, Tuscany and is in consideration for many other festivals to which Milligan submitted. It has also screened in Vancouver for Women in Film, the National Film Board and Cineworks independent film society. “I think it’s kind of a unique thing that’s happening — storytellers don’t have to just be in Vancouver or Toronto, you can be on the Gulf Islands. And there’s so much to be inspired by here, it’s insane,” Milligan says. Robertson is an artist and illustrator by profession. She became involved with Stage Fright after her daughter Lily McCluskey was cast as Cascadia’s young star. Robertson is now writing in close collaboration with Milligan for some upcoming projects, as well as doing producing and art direction.
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“The reason I started getting excited about [filmmaking] was thinking it was opaque for so many years, and then getting involved with these guys when Deanna was shooting Cascadia,” Robertson said. “And realizing it’s actually totally accessible with the right group of people, and so fun, and so easy now with all the technology. So I think exposing that to people will be enlightening.” Milligan started the process of becoming a filmmaker with the Hands On series featuring local women artists. She started filming it with her iPhone and then quickly realized she needed a real cinema camera to achieve the results she wanted. At first the series was mostly a way to learn about shooting and editing with her new camera. “It’s just kind of that permaculture idea of filmmaking where I’m using what I have. We have very interesting people on the island, so doing a documentary series seems like a no-brainer. That’s just a perfect way to start and learn,” Milligan says. “And then it quickly became something that I think has the potential to be an inspiring series about women . . . I have learned quite a bit about editing and shooting doing that. And all along, as with this process of learning to be a filmmaker, making mistakes is number one the best way that I learn.” Two episodes from the Hands On series have been released on Vimeo and Milligan is currently cutting together a third. Gaffney is doing the music and Robertson the illustrations. They intend to continue shooting until they have a dozen episodes. On the narrative front there are plans to make 10 short films before they move on to a full feature. The magic realism that characterizes Cascadia will likely continue to be a theme, and local talent will certainly continue to be central to the expression. Aside from accessible technology, the Gulf Islands community is one of the things that makes a local scene seem possible. Milligan wrote a part in Cascadia for professional actor and islander Chris Humphreys. Bruce Smith wrote the music, and Robertson’s artwork was perfect for the aesthetic. Retired cinematographer Bob Primes, who lives part time on Salt Spring, provided good advice on going forward as a young film company after seeing the finished product. “That’s a perfect example of what’s available to us on the island, is someone with his experience,” Milligan says. “He’s just a wealth of knowledge and an amazing person. That he would give us time to sit down and chat with us was a major opportunity. And there’s lots of people like that on the island who could contribute.” Milligan and Gaffney’s film world contacts have also helped them develop their vision. For example, Cascadia benefitted from having a professional special effects makeup artist, a costume designer from Once Upon a Time and camera work by John David James, another professional artist and technician now living on the island. “Drawing on those contacts can boost our production value quite a bit, and get the pro look,” Gaffney observes. Milligan’s recent transition into filmmaking has meanwhile encouraged the team to incubate others’ capabilities as well, supporting the skill development around which a local film scene could coalesce. Stage Fright produced the first annual Salt Spring Youth Film Festival last summer and Milligan and Gaffney offer on-camera acting classes for high school ages in their home studio. A spring break filmmaking camp may be in the works.
Above: Paul Alexander, left, and Jason Gaffney warm up the crowd with some music at the Cascadia premiere party at Beaver Point Hall. Page 17: Promotional poster for Stage Fright Productions' Cascadia film.
Trickle-down to the next generation is already apparent. Lily McCluskey and friends in Grade 7 are now making a film and even had a Kickstarter campaign to get funding. Milligan and Gaffney’s elder daughter Josephine has made one film as an independent study course at high school and is getting ready to do another. Other students immersed in the island’s theatre tradition may be seeing new avenues open up, such as Kevin Gray, who also had a role in Cascadia. As the centrality of the screen in modern culture shows no signs of shifting, it makes sense that the form would grow on the island as well as in the rest of the world. In fact, with the expansion of streaming platforms and television as a new niche for quality writing, the opportunities are only increasng. Gaffney notes Netflix alone will create 700 original shows and movies next year, which compares to the annual number of movies produced in all of North America in past times. “There’s a huge hunger for stories — we never get tired of them. It’s something we need as humans, ever since the campfire,” Gaffney says, noting stories that are expressed on the screen have a particular resonance in modern culture. “For myself, it’s that it’s sound and vision,” he says. “Whereas a painting can be a beautiful thing — it can be evocative — a film goes a step further because it sort of creates a whole world that you can immerse yourself in.” “I think that, too,” Milligan agrees. “Any kind of film that transforms your perspective, your sense of place and time, I think it’s super powerful.”
January/February 2019 – AQUA – Page 19
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Musgrave Magic The forest bares her soul — her secrets michael LEVY photo
woven in the mist — as Heron hunts — camouflaged by the muted tones of the estuary — the roar of cascades vibrating through Barb Levy, AKA Rhen, is a poet, musician and photographer who has lived on Salt Spring for 15 years. Rhen's Poetry matches the seasons in each issue of Aqua. For more images by Barb Levy and to connect with her about her work, visit www.facebook.com/ altspringrbrhenpoetry/
your body like drumbeats, like the heartbeat of these warrior Waxwings on guard. And you forget the cold of this wet winter cutting through the air — right through to the bone — remembering the glimpses you caught of this fragile life, emerging with the sun and snow.
January/February 2019 – AQUA – Page 21
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Island Ventures
Lighting up Mayne Couple merge recycling and crafting in happy endeavour Story and photos by CHERIE THIESSEN
Most couples who live and work full time in the city but have
a second island retreat like to spend their weekends on their chosen island paradise relaxing. Not Greg Martyn and Heather Harris; instead, they started a business.
“I don’t sit still very well. I need to be doing something, so when we’re here I find working with the candles and the wraps is a pleasant way of occupying my time,” says Harris, who is employed in Vancouver as executive director of a national research network on kidney disease. Her partner is director of the office of the vicepresident of Research and Innovation at the University of British Columbia. Since January of 2018, Mayne Lights has become their Mayne Island business. They market two equally popular products: soy candles and reusable beeswax food wraps. Constantly reusable, the wraps could make the old wax paper rolls obsolete, I’d guess, and give cellophane a run for its money too. The couple got into this as a sideline because they had used the Abeego beeswax food wraps and decided they could kick it up a notch by choosing vibrant and colourfully patterned fabrics to coat. Ergo, the different sized wraps Mayne Lights sells are as colourful and as zesty as the food they’ll wind up preserving.
Above: Greg Martyn and Heather Harris of Mayne Lights. Above left and Page 27: Mayne Farmers' Market displays. January/February 2019 – AQUA – Page 25
“We find the fabric and then cut square pieces, in both the smaller and larger sizes,” explains Martyn as he outlines the process. “We line specific cookie sheets with parchment paper to contain the wax. It makes for easier clean-ups if the wraps bake on the parchment rather than on the cookie sheet. We grate the beeswax, then sprinkle it over the wraps and bake them for about seven minutes, and then hang them out to dry on a clothes-drying rack. It takes about a half hour or so. Then we trim along the edges and package them up. Harris says although they live and work in Vancouver, their hearts are full time on Mayne. He tells me they first bought a little cabin in the woods before eventually purchasing their “forever” home overlooking Curlew Island on the north side of Horton Bay, because by then they knew that Mayne was where they wanted to retire. Looking at Harris, however, I would guess that retirement would still be a very long way off.
“Four or five years,” she says. “That’s all. Then I will gradually transition over here.” How did she get into candle making? “I made candles years ago with my kids when they were young.” (They’re now 22 and 25.) “We would take beeswax sheets and roll the candles and I still had a bunch of candle-making equipment from those days.” The idea was re-ignited when her oldest daughter gave her a candle in a Mason jar that she had made with some of her friends for Christmas. “I thought, ‘That’s cute, I can do that.’ So I got out all my old candle stuff and started playing around with things. I have a thing for Mason jars. I keep my dry goods in them and am always looking for more. And then Greg said, ‘Hey, we could sell this stuff at the farmers’ market,’ and so here we are.” She says thrift shops are a great source of containers.
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“I buy up the teacups, the jars and the fancy containers and Mayne Islanders often bring me some too or bring back their containers to be refilled.” I can see that she has hit on a very clever idea. A diminutive little china cup festooned with flowers will have flowery natural oil added to the wax. A Starbucks cup is definitely going to feature the aroma of cappuccino. Old things get re-branded and are born again; the re-purposed cups are far more interesting than the traditional metal containers, although Martyn and Harris offer those as well. What’s not to like? So now the weekends see them in their island home’s 100-squarefoot workspace creating aromatic candles, or by the oven keeping watch on their wax wraps, or on their waterfront deck packaging their products with lovely little details like seashells, lavender or other herbs carefully tucked into the packages. Saturdays in the summer see them at the farmers market at the Agricultural Hall near Miners Bay, their main venue for marketing, although Harris says she has just sold a box set of citronella candles to a woman in Alabama who didn’t care about the shipping cost. She saw Mayne Lights on Facebook and wanted that particular set. What better way to test out a community and get to meet the islanders than to participate in a weekly farmers market, where you meet the locals, rub elbows with the other merchants, and get to say hi to all of the summer visitors and fellow weekenders? Also, what better business to be in than one that involves natural products and recycling? The couple is going through a lot of soy wax these days. They use 45-lb. boxes of soy pallets for their candles and buy the beeswax for their wraps in two-kg blocks. Now the candle maker is explaining what’s involved in this part of their business. “The wax comes in small pallets. I weigh out as much as I need, between 500 grams and a kilo. Then it goes into a double boiler. I
have a little two-burner hot plate that I use and I melt the pallets down on the burner. I use a candy thermometer so I am always checking the temperature as it’s melting. When it reaches a certain temperature it comes off and I cool it to a certain degree of heat and then add the essential oil. All of the oils have different flash points so I have to be aware of that for each product, otherwise the fragrance just evaporates. I pay particular attention to this because essential oils are expensive and I don’t want to waste them. Then I cool it down to the proper temperature before pouring it into the container. I use chopsticks to hold the wick in place so that it’s in the centre and then the candles are stored in a warmer room for them to cure.” I ask what one of the most popular scents is and am startled to find that it’s Tobacco Leaf. “It smells nothing like it sounds like,” says Harris. “I had two teenage girls come up and smell it one week and they said, ‘Oh this smells like a nice-smelling man.’ It’s by far the most popular scent. It’s so popular we make it in larger containers, like 500-ml Mason jars.” Take note, guys. A little dab of candle behind the ear, perhaps? I want to know a little more about the wax used and Harris tells me that the soy wax is a very pure product, unlike paraffin, which contains all kinds of toxins. Just now she’s working on her mosquito blend: lavender, peppermint and citronella, and experimenting with a Christmas blend. “It’s something for us to do here together,” adds Martyn. “One of the things we really like about doing this is the connection it gives us to the community that we’re going to become more and more a part of. People here have been really supportive of what we’re doing, and particularly being at the market has really connected us with the place we’ll retire to.” Sounds like a very sensible and profitable way of rooting yourself into new soil, I’d say. People can connect with Mayne Lights through Facebook.
January/February 2019 – AQUA – Page 27
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Ecology
the Big Comeback rod butler photo
The Return of the Purple Martins
Story by Cherie Thiessen Photos by Cherie Thiessen, except as noted Above: Purple martin chick. Below: Old wasp's nest found in a nest box. At top: Purple martin at a nest box and another flying in.
W
e’re trundling down to Port Washington’s dock on North Pender Island. Bob Vergette and Jill Ilsley are at each end of a ladder that extends to 10 feet, on a mission to check out the six purple martin boxes here. These hard-working Pender Island volunteers have been doing this for over a decade. Vergette has had a love of birds since he was 12. He’s now seriously indulging this passion. Ilsley has been a Pender Island Conservancy Association (PICA) member for over 10 years and is a selfconfessed nature lover extraordinaire. After all, you have to be passionate to climb tall ladders over docks that rock and roll in the wave action, and to thrust your hands blindly into bird boxes hoping to scoop up something interesting. “I can’t remember which happened first: Bob recruiting me to go up the extension ladder and reach blindly into a dark box full of featherless baby birds, or me volunteering to join him in constructing nest boxes,” she January/February 2019 – AQUA – Page 31
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Above: Jill Ilsley checks a high-up nest box at Port Washington on Pender Island.
laughs. (Vergette, who was a long-time PICA member as well, is currently president of the Pender Island Field Naturalists.) This is clearly an active nesting site. Purple martins chatter, sit on their boxes, and flip back and forth seemingly insect hunting, feeding young and socializing. The birds are highly tolerant of human presence and are communal nesters. With the ladder in place, however, they become agitated and make their displeasure vocally known, ever louder as Ilsley climbs up and reaches in. There’s a shocked yelp from her, a flurry of startled feathers, and out fly several fledging purple martin chicks, narrowly missing Ilsley’s face. After a moment, she climbs down with her bag empty, and the researchers confer. This is not the result they want. While those escaping chicks appeared to be strong fliers and therefore probably close to being ready to leave the nest, the duo don’t want to rush things for them. There’s a chance the birds will return to the nest, but it’s not certain. Ilsley says that purple martins are great explorers and when their chicks are ready to fledge the parents tend to take them on far-flung expeditions for a while, perhaps to get them ready for their epic September migration. There are so many sad stories when it comes to the human impact on nature. If anything, the avian population has been one of the hardest hit. In the 1980s, research indicated that less than ten breeding pairs of purple martins remained in the province. Snag removal, agricultural and housing developments, the introduction of European starlings, the practice of covering pilings with creosote or replacing wood with metal, who really knows how many of our myriad activities impact the other inhabitants we share this planet with? The purple martin is the largest of the North American swallows, flocking together to emigrate as far south as the Andes in South America on its annual journey. Due to its perilous status, the species was put on B.C.’s Red List (designated as endangered or threatened under the British Columbia Wildlife Act). Can the species possibly come
back from that? Vergette and Ilsley know they can, because they are part of the solution. “Sylvia Pincott got the project going from a connection with Charlene Lee, a retired biological consultant and manager of the Georgia Basin Ecological Assessment and Restoration Project (GBEARS) since 1999,” says Vergette. Sylvia was the president of PICA at the time. GBEARS provided the first nine boxes, which Sylvia’s husband Keith and I installed, and later Jill and I made about 30 more.” The nest boxes are made from cedar from plans clearly laid out by GBEARS when the program was instigated in 1986. Purple martins like to nest well away from trees, which could harbour predators, and favour being over water, which protects them from interlopers like European starlings. These boxes are still going strong a dozen years later, with none yet having to be replaced. Conference over, Ilsley — ever plucky — agrees to go up and check another bird box. This time she bags a chick and brings it gently down, where she and Vergette check it against the five charts they have, showing daily growth rates. “This is a 10-day-old chick,” they both decide. “We age them by using these charts,” Ilsley explains. The charts show differences in the tail, the feathers and the size. Then the chick is carefully placed back in its nest. The birds are also banded, but this is not part of the process today. The plans are to check the boxes and count the chicks at three of the island’s eight sites: Port Washington, Hope Bay and Otter Bay Marina, a morning’s work and lots of ladder hauling. So on to Hope Bay, where we discover one of the boxes with a nest but no eggs, meaning it was probably never occupied. Ilsley says: “We look for clues when we look into the nests. The violet green swallows come first before the martins get here. They will start building their nest and they use feathers, but then the purple martins will chase them out, even if they never actually occupy the nest themselves. Purple martins like to build with fresh leaves and cedar twigs. January/February 2019 – AQUA – Page 33
Paleo Creamy
the
Soup Purple martin withBroccoli a dragonfly is eyed by a compatriot. 1 onion, small white ¼ cup coconut oil 4 cups broccoli
2 tbsp garlic salt
1 tbsp each minced garlic
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Page 34 – AQUA – January/February 2019
and minced ginger AsiAn Lettuce WrAps
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the
rod butler photo
We may only have one nest here but it’s a start.” Vergette climbs up to the second box and comes down with a tiny wasp nest in the palm of his hand. Luckily it has been long abandoned. “Originally the boxes were built on the cross bars here,” he tells me, “but they were never occupied. Now we’ve moved the boxes. What we’ve learned is that the purple martins like their houses in a certain orientation.” So not much is happening here, but both volunteers are happy to see signs that the birds are reconsidering their original boycott. Ladders are returned to the back of the truck and it’s on to Otter Bay Marina, where boaters enjoy watching and listening to the purple martins on the wharves. In fact, one boater, who was tied up under one of the pilings with bird boxes on it, had been photographing the birds since early morning and is happy to share his findings and his photos. There are five nest boxes here and all of them appear to be very active. Vergette and Ilsley decide not to disturb any of them as it appears the chicks are very close to fledging in all of them. How do they know? Ilsley tells me to look at what the parents are feeding their young . . . dragonflies. A mouthful that big means a bigger chick. Also, she points out, the parents are feeding the chicks at the entrance. If the birds are large enough to come to the entrance, that is another indicator of maturity. After another conference, these two busy birders come to the conclusion that they have left this
Hot li
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½ cup hoi sin sauce 1 can coconut milk ¼ cup soy sauce THE BEST IN WOOD ¼ cup nutritional yeast AND GAS HEATING 2 tablespoons rice vinegar ¼ cup almond flour APPLIANCES 2 teaspoons sesame oil Salt and pepper to taste 1 tablespoon extra virgin olive oil THE BEST IN THE BEST IN WOOD 2 pounds ground chicken or pork On high burning wood sauté onion in 1 sm bunch of gr onions thinlystove sliced WOOD AND GAS AND GAS HEATING coconut oil, until onion 1 tablespoon freshly grated ginger HEATING APPLIANCES is brown and soft. Add 2 cloves of minced garlic broccoli, garlic salt, APPLIANCES minced garlic, minced 1 cup of sliced cremini mushrooms ginger and chicken broth, 1 ½ cup grated carrots bring to a boil (remember 1 can water chestnuts, drained to and shut finely off your fan to chopped allow stove top to get very hot). Reduce air control ½ cup slivered almonds to slow burn and simmer 2 heads of butter lettuce on wood stove top until Heat wood stove up, keep firebroccoli on high.is cooked Lightly and soft, mash with a potato coat the bottom of a pot withmasher. olive oil, heat up, add the meat and brown, Inbreaking into mix a shaker it container small pieces. Continue cooking until no longer coconut milk, nutritional yeast, and almond pink. Keep wood stove cooking on high, add flour, pour mixture into soup green onions, ginger and garlic. Mix in to the pot and continue to meat and continue cooking for an additional simmer on wood stove top until desired 3-5 minutes. Stir the sauces together (hoi sin,thickness is achieved. Season with soy, rice vinegar and sesame oil). Add to the salt and pepper to taste. meat on the stove. Stir in the Enjoy! green onion, mushrooms and carrots too. Turn down the wood stove temperature to low. Simmer meat, vegetables and sauces until thickened. We simmered the mixture for approximately 2 hours, stirring occasionally. Stir in the160 almonds East Burnside Road, Victoria | 250-382-5421 and water chestnuts until coated. Take off wilkstove.com the stove, transfer into a bowl. Garnish with 160 160 | 250-382-5421 BurnsideRoad, Rd, Victoria | 250-382-5421 EastEast Burnside Victoria sesame seeds and green onions. To serve, wilkstove.com wilkstove.com separate the butter lettuce leaves and fill with Imagine A FIREPLACE IN EVERY ROOM. the cooked saucy filling! Enjoy
the
particular bird box visit too late this year. But who knew? The long, hot summer probably had an impact, and when it comes to purple martins, anything goes. I’ve quickly learned that the only certainty is that nothing is certain when it comes to these large swallows. For Ilsley, who finds respite in this volunteerism from the stresses of her paramedic job, the benefit has been considerable. “Now, each year spent monitoring the nest boxes reveals amazing insights: how rapidly the nestlings’ feathers grow, the connection between weather, food availability and successful fledging, learning of their yearly 8,000-km migration to and from the Amazon Basin. It is impressive, it’s awe inspiring, to hold a tiny warm body with feathers just beginning to shaft out and know that it could well be winging its way far south in just a matter of weeks because its life depends on it. I have also learned the importance of anticipating ferry wake while 14 feet up a ladder leaning against pilings coated in gobs of melting creosote tar.” There are now 42 purple martin nest boxes on Pender, but Galiano, Mayne and Salt Spring Islands are all also active.
“Salt Spring was the last to get on board but they now have more nest boxes than we do on Pender,” says Vergette. “This is a ‘feel good’ story. A certain bird population is diminishing and may become extinct and what we’ve done here has been a part of a program that takes the purple martins from almost extirpation to over a thousand breeding pairs.”
• In addition to GBEARS, the support of the Gulf Islands Parks Canada staff has been invaluable, notably for boat access to the pilings at Medicine Beach and Roesland and Shingle Bay. Other volunteers who help to band or clean the nest boxes, and the wharfingers and marina managers who welcome the installations are also important to the success story. • For further information, go to www.georgiabasin.ca/puma.htm.
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Comfort Food
Indian Roots and Guyana Butter chicken from Naomi Singh You’d be surprised by how many different nationalities live on Salt Spring Island. And each one of them has their own comfort food. BY MARCIA JANSEN
N Marcia Jansen is a Dutch journalist and writer who has lived on Salt Spring since 2012. www.ssicomfortfood.com
Page 36 – AQUA – January/February 2019
Salt Spring Islander Naomi Singh, who grew up in Canada but with roots in Guyana, and before that, India.
aomi Singh was born in Guyana, grew up in Canada, but the roots of her family lie in India. Eleven years ago she left behind a career in the aviation industry in Toronto and started a catering company on Salt Spring Island. Leaving eastern Canada for the west coast was quite a turnaround for Naomi. “I was living in Toronto and was married to my work. It was all very corporate, with business suits, high heels, fancy dinners and briefcases,” she laughs. “I enjoyed that lifestyle for a while, making money, travelling the world, enjoying the culture and the food in Toronto and around the world, but at some point, I had an awakening. I worked on commercial and military projects, but had never thought about the impact before: that I helped to make airplanes that were used in a war.” Naomi got transferred to Thunder Bay after the events of Sept. 11, 2001 to work
on public transit projects, but she felt out of place in the former French trading post in northwestern Ontario. And when she got pregnant, she and her now ex-partner started thinking of relocating. “I grew up in Ontario, surrounded by trees, and I wanted the same thing for my children, growing up in nature. Friends suggested the west coast, so we went on Craigslist to find a house and we stumbled upon a rental on Salt Spring Island. It was funny, I’d been in Vancouver a few times, but I’d never heard about the Gulf Islands.” In January 2008, at 35 weeks pregnant, Naomi arrived on Salt Spring Island. The first years, after having her first two daughters, Nayoki and Kilaya — who sadly passed away at the age of three and a half in May 2013 — she focused on being a mother. “But it turned out that I wasn’t cut out to be a stay at home mom, so I started thinking of what I could do,” says Naomi, who
photo courtesy naomi singh
Cooking Indian food — she also caters events and private dinners — brings back memories of her childhood in Toronto. had her third daughter Nariya in 2015. “I always loved to cook, so in 2010 I started to sell my samosas at the Saturday market, which later evolved into a catering business, Omja catering.” That she’d never made a samosa — a small triangular fried or baked pastry case containing spiced vegetables or meat — in her life didn’t discourage her. “I am not a chef, but I come from a family with amazing cooks. When my mom and dad split up I was adopted and raised by my paternal grandparents. My grandmother was a perfectionist and only masterful kids were allowed in the kitchen. I was able to observe from a distance. She never really taught me, so everything was fairly new to me. But I sold out on my first day at the market. That was a good sign.” Cooking Indian food — she also caters events and private dinners — brings back memories of her childhood in Toronto. Naomi and her grandparents left Guyana for Canada when she was four. “I don’t have a lot of memories of my early childhood there, but some things came back to me when I went back for the first time in 2012 to bury my grandfather. I had every opportunity to go to Guyana because my grandparents went back every six months, but I never wanted to go before. I was a bit of a snob. I just wasn’t interested in going there.” Now she regrets she didn’t go back earlier to Guyana, a country on the northern mainland of South America, bordered by Venezuela, Brazil and Suriname. Naomi’s ancestors came to Guyana to become indentured labourers to escape the poverty and famine in India in the 18th century. “Guyana is a beautiful country with lots of nature, 85 per cent of the land is Amazon rainforest, most of which is protected. There is an abundance of tropical fruit; I ate cashew fruit for the first time in my life. There are mangoes in many varieties and three different kinds of pomegranates that I was eating compulsively. People there must have thought that I’d never eaten a piece of fruit in my life.” Although Naomi didn’t grow up in India, she went there a few times in her travels. “I love Indian food. It is so nutritious. A lot of spices they use, turmeric, cardamom and cloves, for example, are health boosters. I prepared butter chicken because it is a popular Indian dish, but my favourite is bhindi, otherwise known as okra or lamb bone curry. It’s made with lots of bones and the bone marrow gives it its special taste. Indians love bones. They are normally very polite, but when there’s a dish on the table with bones, there is no grace. It’s a war,” she says jokingly.
Naomi’s Butter Chicken
(Serves 6 persons)
Ingredients 200 g skinless, boneless organic chicken breast in cubes 1 medium organic onion, diced
200 g organic butter 200 ml organic cream ½ tsp. cane sugar pinch of chili 2 tsp. salt
2 c. diced organic tomatoes
1 c. water 1 tsp. apple cider vinegar (optional)
1 tsp. ginger paste 1 tsp. garlic paste 1 c. raw cashew nuts (soaked overnight)
Fresh coriander Fenugreek leaves
Preheat the oven (broil on high). Cut the chicken in cubes and put them in a baking dish glazed with sunflower or coconut oil. Let them broil for 10 minutes on each side until they are a golden colour. Fry the onions for a few minutes in coconut oil and add the butter, the ginger and garlic paste, until lightly browned, stirring very frequently. Add the cashews and fry for two minutes. Add the tomatoes, a cup of water, the salt, sugar and apple cider vinegar and stir for about 6 minutes. Put the sauce in a blender or kitchen machine and blend. Put the sauce back in the skillet and add the chicken and fenugreek leaves. Serve with basmati rice (cooked with a pinch of turmeric and saffron). You can replace the chicken in this recipe with oven-baked broccoli (broil for 4 minutes) or paneer (7 minutes each side).
January/February 2019 – AQUA – Page 37
Q&A
Salt Spring resident Michael Whitfield has provided lighting design for theatre productions in Canada and beyond for more than 40 years, including 25 years at the Stratford Shakespeare Festival. He now teaches his craft at the University of Victoria.
Q. What path did you take in order to become one of Canada’s best known lighting designers? A. I was born and grew up in Victoria and though I appreciated the arts, by the time I began studies at UVic I was committed to a career in the sciences. All this changed abruptly when in my second year I took as my “arts elective” the first “Introduction to Theatre” course ever offered at the university. I was hooked! I was nudged toward lighting design, I think because with my science background it was assumed I could plug two lighting instruments together without blowing the building up. I went on to graduate studies in theatre, continuing to specialize in lighting design, but my big break came when I was hired by the Stratford Festival to assist Gil Wechsler, one of North America’s leading lighting designers. I subsequently replaced Gil at Stratford as resident lighting designer when he took over at the Metropolitan Opera. Though the Stratford company remained my base for many years, in addition to lighting for the theatre, my career expanded to include designing extensively for opera and ballet and working both nationally and internationally. Q. Tell us about a few of your more memorable projects. A. Among the nearly 400 productions that I have lit during a career that spanned over 45 years, a number of shows stand out as being particularly memorable. One is the 1980 Stratford Festival play Virginia, which featured Maggie Smith in the title role and which was transferred to London’s Haymarket Theatre in January of the following year. The opening night audience was a veritable “who’s who” of British theatre — a truly unforgettable event. Another very special production is the 1990 Canadian Opera Company’s Madama Butterfly designed by my wife, Susan Benson, and which to our surprise and delight has since been revived no fewer than five times. Puccini’s Act II “humming chorus” and introduction to Act III provide a unique opportunity for lighting to collaborate with the music to illustrate the passage of time from sundown through night and into the dawn. Susan’s 1996 invitation from the Finnish National Ballet to re-create her original National Ballet of Canada designs for Prokofiev’s Romeo and Juliet provided me the memorable opportunity to accompany her to Finland and design the lighting for the ballet in the magnificent Finnish National Opera House. Page 38 – AQUA – January/February 2019
photo courtesy michael whitfield
Illuminating
Q. Do you have a preference for a genre of production to work on? Although I have been fortunate to have been involved with a wide range of productions, I can’t really claim to have a preference to work in any one specific genre. And my answer to the inevitable question, “Which is your favourite show?” is always “The one I’m working on now!” Q. What has changed in your field in the past 40 years? A. Since the beginning of my career, nothing has changed so dramatically as the lighting equipment and technology. I would never have thought when as a student in the 1960s I used hands, elbows, knees and chin to run the levers on a manual lighting board that one day I would be directing my electrician to remotely adjust the focus, intensity and colour of a lighting instrument and then with one push of a button on the computerized lighting console could record for playback all the information about the several hundred lighting units contributing to a particular “stage picture.” It is perhaps no exaggeration to say that with today’s technology, the greatest limitation for a lighting designer is actually their own imagination. Q. You have taught at several post-secondary institutions and mentored many lighting designers over the years. What attributes do young people need in order to be successful in this career? A. Theatre is above all a collaborative art form. I always tell my students that to work in theatre they must have a passion for the work, be excellent communicators, demonstrate great imagination, flexibility and stamina and, above all, “check their egos at the door.” Q. What brought you and Susan to Salt Spring Island and what makes you want to stay? A. Having spent some 35 years living in the summer heat and humidity and winter cold and snow of southern Ontario, it was the favourable climate and reputation as a vibrant arts community that brought Susan and I to Salt Spring Island seven years ago. Since arriving here, we have acquired a wonderfully diverse and stimulating group of friends and look forward to making more new acquaintances and enjoying the beauty of the island as we continue to live here.
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As we enter a new year every $1 you give will become a $2 donation to the Foundation!
Long-time donors to the Saanich Peninsula Hospital & Healthcare Foundation, Don and Ruth James, through the James Family Foundation, have challenged the community to match their pledge of $650,000 to this year’s fundraising efforts. Give now and your donation is doubled, helping ensure that you, your family and neighbours receive the right care, in the right place, at the right time. Your donation will help us support patient-focused, team-based medical care and bring family doctors to the Saanich Peninsula and to our hospital.
We have a plan to alleviate the pressures caused by a shortage of family doctors: • create permanent clinics in Sidney and Brentwood Bay that are built (or renovated) to accommodate new practice methods; • establish a hub clinic in Saanichton (at or near the hospital) to provide support to the Saanich Peninsula Hospital;
To double your donation, just include this ad with your cheque. Or if you’re donating through our website, simply click on Yes, I want to double
• provide temporary walk-in clinics to handle our current emergency situation on the peninsula; • assist in aggressive recruitment of physicians and other professionals, locally and across Canada, to deliver service.
my donation from the drop-down menu.
your community, your health 2166 Mt. Newton X Road Saanichton, BC V8M 2B2
250-652-7531
sphf.ca
January/February 2019 – AQUA – Page 39
F LOORI N G
THE ISLANDS BEST AREA RUG SELECTION
Vanguard II Area Rug Collection
RUG SHOWN IS CEA7399
VICTORIA 2269 DOUGLAS ST 250-385-6746
NANAIMO 4890 RUTHERFORD RD 250-758-0181
JORDANSFLOORING.CA