Nov 29, 2011
Nov 9, 2011
And that's just how it felt, to look at my painting, hanging there with 24 other, entirely-other works. As Christopher observed, "Yours is so very different." Of course my kid is different, I wanted to say. I didn't plan it that way, but I'm not surprised that's how s/he turned out. It's nice to be with a crowd, but not of it. Even so, different-ness doesn't guarantee confidence. Leaving my painting at the Gladstone was strange, and a bit stressful (it's exhibited there with the others through Monday). I had a momentary twinge of -what, grief? separation anxiety? parental sentimentality? -when I walked into my tiny studio space at home and immediately noted that particular painting's absence. It had become a sparky little fixture amongst the larger, older stalwarts, who seemed to hover and surround it in a protective huddle. I got cold thinking of it hanging in silence and darkness all night, alone and open to the elements of unfamiliar eyeballs and sneaky urban spiders.
Nov 4, 2011
Oct 31, 2011
Oct 25, 2011
All the year the flax-dam festered in the heart
Of the townland; green and heavy headed
Flax had rotted there, weighted down by huge sods.
Daily it sweltered in the punishing sun.
Bubbles gargled delicately, bluebottles
Wove a strong gauze of sound around the smell.
There were dragon-flies, spotted butterflies,
But best of all was the warm thick slobber
Of frogspawn that grew like clotted water
In the shade of the banks. Here, every spring
I would fill jampots full of the jellied
Specks to range on the window-sills at home,
On shelves at school, and wait and watch until
The fattening dots burst into nimble-
Swimming tadpoles. Miss Walls would tell us how
The daddy frog was called a bullfrog
And how he croaked and how the mammy frog
Laid hundreds of little eggs and this was
Frogspawn. You could tell the weather by frogs too
For they were yellow in the sun and brown
Then one hot day when fields were rank
With cowdung in the grass the angry frogs
Invaded the flax-dam; I ducked through hedges
To a coarse croaking that I had not heard
Before. The air was thick with a bass chorus.
Right down the dam gross-bellied frogs were cocked
On sods; their loose necks pulsed like snails. Some hopped:
The slap and plop were obscene threats. Some sat
Poised like mud grenades, their blunt heads farting.
I sickened, turned, and ran. The great slime kings
Were gathered there for vengeance and I knew
That if I dipped my hand the spawn would clutch it.
...when you're beginning, you're not sure. I mean, is this a poem? Or is it just a shot at a poem? Or is it kind of a dead thing? But when it comes alive in a way to feel that's your own utterance, then I think you're in business.More often than not, it's been poetry that's brought me back to that uniquely personal "utterance" of late. Daily news does make a glorious, chaotic clang that is its own sexy siren song, but it doesn't hold a candle to the more quiet meditations of poetry. That shrieking creative panic who troubles me morning, noon, and night seems like little more than an ignored muse who toes I keep inadvertently stepping on.
Oct 24, 2011
Owing to conversations with TMS Ruge and other experts in the field of aid and development, I've developed a kind of mental alarm system for anything resembling Western-style feel-good-isms toward African nations. Too often those efforts are exercises in narcissism and brand-building, offering simplistic answers and reflecting the organizers' romanticized (/stereotypical /racist) image of Africa and its citizens moreso than actively acknowledging the messy, complicated, multi-layered world of development and well, humanity overall. It's easy to reduce a nation -its citizens within it, its continent around it -to easy slogans and poetic images, ones colored by celebrity visits and ad campaigns and big-ass concerts.
Laura: During my undergrad at Wilfred Laurier University, I started to participate in volunteer trips abroad. I helped build a house in the Dominican Republic, volunteered in India with famine relief, Peru for Dangue fever prevention, and Kenya to work with women and children with HIV. Different cultures and world issues fascinate me. I want to continue working abroad and learn as much as possible.
Casey: I also became extremely interested in aid and development issues while a student at Wilfrid Laurier. I have spent time volunteering in Morocco and Dominican Republic. Working and living with the local people in another country is a very different experience than simply visiting that location and its renowned tourist destinations. You get to really know the place, the people, their way of life and their motivations when you immerse yourself in their lifestyle.
The main thing I hear and read is that Western-style gestures don't help in implementing long-term change - that it's feel-good-ism for the privileged. How much of this initiative is about the long-term?
Laura: We work with an organization called Living Positive Kenya (LPK) which is located in the Mathare Slum, the second largest slum in Aftrica. This NGO is a support group for women and children living with HIV. Mary Wanderi, who founded this NGO (and is currently Director of Living Positive Ngong), is a pervious social worker who had the heart-breaking job of going into the homes of women who have died and retrieving their children. After dealing with an overwhelming amount of HIV related deaths she decided she had to take action. She then created LPK.
Why did you create A Work Of Heart?
Laura: I want to be there for the long haul. I am not looking for the the international ‘feel-good-ism’ experience and to simply walk away. These women aren’t just a group we support- they are our friends. We work together to figure out what the deeper problems are in the slum and try to find solutions that work for them and their community. After my first trip to Kenya, I felt that the amount of money needed to upgrade the LPK daycare was something I could easily fundraise. Selling my art seemed like the best bet to raise that money in my spare time. I paint as a hobby so it was nice to have a reason to do it more often.
What role do you see for art in helping to create social change?
Laura: Artists in general have a lot of passion and are always looking for ways to push boundaries with their talent. A Work of Heart allows them to push a new boundary because their art can now physically change a life for the better. Art is impossible to define but can be best described as something that makes us feel less alone. We want to take this concept and broaden it beyond the painting. Through the selling of our art we can connect to people across the world who are in grave need. It’s not just about painting a great picture; it’s about ‘painting a better world.’
Casey: Art is a positive practice that crosses language barriers and can be experienced globally. Art is exciting because it can mean something different to different people and create an emotional response. There is no right or wrong way to paint or be involved with art. I think that this project exemplifies how one person really can make a difference and that visual art, along with all types of art, like music, dance, can have a global reach and connect the world.
How do you find artists?
Laura: Networking. I have friends who paint who know other artists. It has slowly been growing over the past year. People I have never met want to donate pieces to me because they love the concept. It’s a great feeling to see how other artists connect to it so quickly and so passionately.
How do you hope to expand Work Of Heart and its reach?
Laura: We have decided to push our goals and limits further each year. Last year we aimed to raise $1,000.00 and this year we want to raise $10,000.00. This is our first art show. We hope to have larger ones down the road and have more artists from the GTA involved. We have a deep connection to the women and children we work with in Kenya and want to help them build a sustainable community for their children and themselves.
Casey: I hope to continue to raise positive awareness for A Work of Heart through the media and help to build a solid base of supporters. I am passionate about this project and happy to pitch something I truly believe in.
Oct 6, 2011
Why Faust? What's the attraction?
In this particular case, it is the film more than the legend for me. I have looked at many silent films in search of finding ones that still hold up well today, and ones that do well with my musical scores. I have to believe in the film quite a bit to even get started. Faust was a special case -the film is truly wonderful! What I have done with it musically is easily my best and most effective effort out of all the silent films I have scored. This sort of thing doesn't happen too often in any multimedia project, where the planets just line up so well.
More work went into composing special original music for Faust. The score is also longer than any other one (it's just under two hours), and it's one of the very rare silent film scores I've done that uses more of my deep, more (obviously) classical/ambient music, as opposed to the comedy programs which generally use lighter music. It is more involved -but also more rewarding, for me, and, seemingly, for the audience too.
Why do you think live scoring has become such a popular phenomenon in 21st century culture?
I've been lucky to have done extremely well with my silent film programs so far. Audiences have been very receptive and happy with my programs. Since I only work with select films, I've had the opportunity to really develop the scores and see that they blend and work well with the story/visuals. That's something that probably didn't happen too much back in the 1920s, as new films came in the theaters pretty much every week, and the house musicians had to keep up. It's almost an advantage today to go back and revisit like this.
Oct 5, 2011
Your time is limited, so don't waste it living someone else's life. Don't let the noise of others' opinions drown out what you really want to do. Have the courage to follow your heart and intuition; they somehow already know what you truly want to become. Everything else is truly secondary.
We were talking
About the love that's gone so cold.
And the people who gain the world
And lose their soul,
They don't know, they can't see -
Are you one of them?
When you've seen beyond yourself,
Then you may find
Peace of mind is waiting there.
And the time will come
When you see we're all one,
And life flows on within you and without you.
Oct 4, 2011
Oct 1, 2011
Sitting in the grand velvet cushiness of the Royal Alexandra Theatre in Toronto on a recent Sunday afternoon, I was struck by the theater unfolding around me. Ladies parading in all manner of frippery, many tottering on high heels their bridled, bejeweled hooves were desperate to break free of, wearing so many coatings of makeup and perfume as to be aromatically plastic, with cleavage hiked up to the neck and porn star pouts perfected.
Sep 19, 2011
Sep 16, 2011
My eye was recently caught at the last Art Battle by Iulia Olar, a Romanian-born, Toronto-based artist who was participating. Her gorgeous, vibrant cityscapes were joyously retina-ripping, and I felt honored to be witnessing the creation of not one but two beautiful renderings of Toronto's skyline.
So it was an honor to have this Q&A with her, and to learn more about someone whose talent is bursting with the living of life, moment by moment, stroke by stroke.
I came to Canada as a poet, with three books in my luggage. After three years I realized that I wouldn't be able to write anymore, so I decided to express myself through painting.I started to paint on September 19th, 2009: I went to the store, bought canvases, paints, brushes, and took books from the library... and here I am! I have to admit, I took one year of drawing lessons -that was a long time ago -but never, ever did I paint. I want to remain for as long as possible a self-taught artist. It's so natural and much less stressful.
I also have a wonderful husband, a wonderful son and a wonderful friend. They encouraged me from the first moment. Terry Mardini (my friend) bought over forty paintings -and she exhibited them in her apartment. What a friend! I am very lucky.
Believe me or not, every time I sell a painting I say :"Forgive me, Vincent!" (Vincent Van Gogh). That's my story with painting . You know, I see myself doing this for the rest of my life.
How does being involved in Art Battle help your artistic development?
I consider participation at Art Battle a unique experience that every painter should have. You can test yourself and the public's reaction towards your art, right on the spot. There, you have to give your best in twenty minutes. Leonardo Da Vinci spent seven years giving us the Mona Lisa -and only a few rich people benefit from that type of art. It's not possible (to work that way) anymore. The modern artist has to be there for the people, right away -there is no time to wait.
Who are some of your favorite painters and why?
I adore Vincent Van Gogh. He felt that is nothing more truly artistic than to love people. Because he risked his health and his life for his work: "I put my heart and my soul into my work, and have lost my mind in the process." Because he sold one (one!) painting in his entire life but, this, couldn't stop him from painting. What an artist!
Why acrylic paint? Would you consider other media?
I like acrylic because it's an extremely liberating medium. Its versatility is actually its best quality; use it like oil paint, watercolour or gouache. Acrylics gained my favour because they offer many advantages: great colour, a fastness that doesn't fade or yellow or harden with age (or crack), it dries much faster then oil paint too, so it's great for studio work. I use more acrylic paint because I don't feel like considering other media... but who knows? Maybe in the future.
You seem to do a lot of cityscapes; what's the attraction, creatively?
As an artist, you must learn to trust your own feelings, judgment and analysis about what you like and why. Ambivalence in your approach will lead to an ambivalence response from the viewer. You don't have to please all the people by somehow finding the average line.
Yes, I can say, Toronto's skyline attracts me because of that insolent CN tower that lances my sky. Sky bleeds, suffers. People stay at home. Nobody to be seen on the streets. The water: second reality, refuses to capture the mirror image, makes another one more subtle.
This theme reveals my love and my hate, my choleric side. A solitary seagull flies -the guardian of the city. The strong colors I use add life and dynamic they are projections of the people not of the town itself. I also paint flowers, landscapes, family members when I am in the "quiet mood"
What's next in terms of your work and where can we see it?
I have plans to create a website where I'll post all my work and keep in touch with friends, and try to participate as much as I can in public events, art galleries, etc. This is a never-ending story for me and I feel very engaged with every single detail. I start to count my life in days that I paint well. Who knows one day I'll have my own studio, students and I will make my art my entire occupation.